UNDERWATER ETHICS

In August I traveled to Pompano Beach to participate in a lionfish derby. I had read about the population boom, how lionfish destroy reefs, voraciously inhaling a variety of species, and how they were delicious! What I found was the proliferation of lionfish occurred outside of reefs where dives were regularly chartered. Effectively, the dive sites had become a conservation area for native species, since lionfish were usually removed by recreational divers.

But as a footnote in the conundrum of biodiversity, invasive lionfish are a useful case study for how humans have to decide whether to mitigate issues of climate change or retire into ideas of universal principles of treatment of non-human lifeforms. From the perspective of scientists and conservationists, the question is how to intervene. Should our actions encourage struggling, native species or discourage abundance invasive species? What is at stake in the sixth extinction? How will our ideals shift as ecological crisis worsens? 

This exhibition, through actions, interventions, performance and film, frames these two conservation ideologies.

WORKS

Half of the exhibition pertains to a cement mixer, cast out of biorock. Cement manufacturing is one of the main causes of ocean acidification; biorock (aka seacrete, seament) is an artificial limestone that is used to instigate coral growth through electrical current. This work will be installed at the edge of a reef as a permanent artwork underwater. Accumulation occurs over 6-8 weeks on the structure. In the shape of a cement mixer this structure will be installed prior to the exhibition opening and will be growing during the exhibition period for visitors and divers to see. 

This work aims to foster marine biodiversity. 

Visitors encounter drawings, photographs, videos, blueprints and logistical materials pertaining to the production of this project, as well as tangential artworks that explore on specific elements of this project; maquettes, et al. Additional literature includes the original technical papers by the inventor of the process. A free pamphlet provides instructions for visitors who want to create their own artificial reef.

Possible collaborating agencies include: Miami-Dade County Artificial Reef Program; Florida FWCC; Underwater Museum of Art; Citizens for a Better South Florida; Institute for Regional Conservation; Diver’s Paradise; Tarpoon Lagoon Dive Center; REEF.org, Global Coral.org

Contrasting the cement mixer artificial reef projects are works from my lionfish competition. (These works are complete but have not been exhibited.) These works represent the opposite ideological approach to biodiversity conservation.

Works include Pokemon sculptures that have the venomous spines of lionfish as teeth. The Pokemon toys were purchased on ebay, manufactured in China and Southeast Asia, indicative of global trade and referential to the geolocation of where lionfish are native. 

A series of drawings deconstructs the lionfish from a representational drawing to lines following the camouflage and spines (after Picasso’s bull drawing)

A documentary film follows the derby, its participants and creators, and two dives during which I speared lionfish. 

The exhibition brings together the art, ecological and diving communities