“Geological mapping involves more than just producing a colourful map to show the distribution of formations within a given area. The trained geologist is able to produce an interpretation of not only the surface rocks but also of their subsurface structure”- Lisle et al. (2011)
At the beginning of the 19th
century, English geologist William Smith realized the first geological map of Britain or, with Winchester’s (2001) words “the map that
changed the world”. Different colours were used to mark different rock units
and their surface distribution. As seen in the last post, geological maps are
true distillations of experience and, consequently, they share a common ground
with the artistic process. It is not a case that geological maps and geological
mapping often appear within an artistic context.William Smith did not focus on surface
geology only, but he produced two-dimensional slices of Britain’s subsurface
structure: geological cross-sections.
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| Geological cross-section by William Smith. Picture from the Oxford Digital Library. |
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| An artistic cross-section and the Birdsongs of the Mesozoic. |
In parallel to geological maps,
cross-sections often present a marked aesthetic appeal, as shown by the beautiful
album cover of ‘Faultline’ by the Birdsongs of the Mesozoic. Similarly,
geological cross-sections have been the subject for body art, as exemplified by
the ‘cross-section tattoo’ portrayed in Zimmer and Roach (2011).
Still nowadays, cross-sections frequently complement
geological maps in order to describe the three-dimensional structure of a given
area, with the final aim of extrapolating the fourth dimension: time. Such
fourth-dimensional nature is manifest in Laura Moriarty’s sculptural paintings,
realized with layers of hot wax. With the artist’s words: “Referencing diagrams
found in earth science textbooks, I study the way events and phenomena occur in
the geological time scale, creating micro/macro records in paint of what I
imagine happens below a terrain's surface”. The last sentence fits perfectly to the
hand-coloured cross-sections made by Charles Darwin, who aimed to understand
the subsurface geology of the Andes. In his
Red Notebook, Darwin
wrote “Geology of whole world will turn out simple”.
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| Geological cross-section as body art. Image from the Discover Magazine Blog. |
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| 'Subduction into Trench' by Laura Moriarty. From the artist's homepage. |
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| Geological section sketched by Charles Darwin. Picture from the Cambridge University Library webpage. |
Darwin's message is oxymorically conveyed by
the colourful, abstract but concrete artworks of John ‘the Rock Doctor’ Jackson. With his
geological hammer and a paintbrush, the artist explores both the surface and
the subsurface of our planet. The result are forms and textures on canvas, true
cognitive maps of the geological world. Although the depicted phenomena are
complex, the Rock Doctor’s pictorial rendering makes them accessible either to the
mind or the emotions. According to this viewpoint, Darwin’s optimistical thought sounds true.
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| 'Gas Hunting' by John Jackson. The artwork is an artistic cross-section depicting a gas reservoir and its geological features. |
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| 'Window on the Worm' by John Jackson. Image from the Art and Soul Gallery. |
John Jackson produces slices of Earth of
various dimensions, from the scale of mountains to the minuteness of worm
burrows. Indeed, in his ‘Window on the Worm’ the work of tiny organisms is
manifested through their U-shaped burrows. In some cases, the effect of tiny burrowing
organisms is so pervasive to modify entire ecosystems, severely affecting
habitats and their inhabitants. This phenomenon, known as ecosystem engineering
(Jones et al., 1994), can be seen in numerous human activities and poses
important ethical questions. These points have been investigated by Jarod
Charzewsky in his artwork ‘Scarp’, merging geological cross-sections and
ecological awareness. I had the opportunity to explore this
subject through a first-hand interview with Jarod Charzewsky himself.
In three sentences or less present
yourself: Who are you and what you do?
I am an ambitious yet procrastinating
surfer. Much like surfing, what I do is all about patience and timing. I wait
for precisely the right moment and then I give it all I’ve got.
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| 'Scarp' by Jarod Charzewsky. Image from the artist's webpage. |
What inspired you to create "Scarp"?
The elementary school where I grew up in Winnipeg Canada
had plenty of landfill sites, like most cities do. My high school was located
on a landfill site. I use to imaging the layers of garbage beneath my feet. I
thought what would it look like if I could cut away the earth to expose the
wasted materials beneath my feet. I considered this idea as mankind reshaping
our landscape with our discarded items. The idea stuck with me until now.
I love these renderings of a landfill. Its
supposed to make sense of the chaos that is a landfill site.
Geology plays a huge role in this artwork.
How would you describe its importance in your set?
I have spent a lot of time around Canada and North America
and I have always felt an intuitive connection to the land. I spent time in the
Alberta
badlands where the geology of the region is abundantly exposed. These naturally
formed layers made sense on the level of my landfill idea in fact this was the
link I needed. I think most of us can
identify with these stratified layers in one way or another. They are easy to
be amazed with. The visual similarity is what makes my work accessible.
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| Particular from 'Scarp' by Jarod Charzewsky. |
You used 5000 articles of clothing for
realizing ‘Scarp’. Please give us some insight on your journey in making this
artistic project.
At first I did not think the project was
possible. I could not afford nor did I want to purchase all the materials for
the piece so I quickly forgot about it.
Then in 2008, I got a residency at The Halsey Institute for Contemporary
Art. This gave me two months inside a large gallery space – enough time to do
what I wanted. If there ever was going to be a time to create the piece it was
now. I went to Goodwill Industries
because I thought they might have the materials. I told them what I wanted to
do and they understood it instantly and offered to loan me whatever I wanted. But
only a loan. Everything would have to come back to Goodwill. I could not be
happier with that arrangement. The last thing I wanted was to be stuck with all
that clothing after the show came down.
Why did you choose clothes to realize
‘Scarp’?
This is a good question. When I went to
Goodwill In 2008 I did not know what I was looking for. I knew I needed a lot
of it and I was limited on how I could move the stuff around. Other things
Goodwill had were ceramic plates and furniture. These were too heavy and
fragile, but the clothing stood out right away. It was the most abundant
material they had which meant they would be more eager to help with the
project. Plus the colours and textures that I could acquire would make for a
nice visual effect.
When a geologic section becomes art?
This is tough, when you think about it. You
cannot just get some rocks and put it in some gallery and call it art. But it’s
also easy. There is so much natural beauty in the world it doesn’t take much
some times.
You realized many works focused on Nature. Which of these works do you consider ‘geologic’?
Geology is in all of them I think. Some are
more specifically about water flow and even more about what’s natural and
what’s “simulated natural”. This is a paradox I exploit frequently. These terms
are being exploited is our culture, usually to expand real estate or fossil
fuel development. But I am not against growth but only to do it responsibly.
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| 'The Geology of the New Earth' by Jarod Charzewsky. |
Geology appears also in your ‘The Geology
of the New Earth’. What media, what artistic metaphors have you used?
I like to use whatever I can find in the
clothing. I did a piece in Calgary
Alberta where I just happened to
get 54 baseball hats. Or in Raleigh
North Carolina I happened to find
238 men’s neckties. This is what helps link the work to the region where it’s
installed. Somehow, and I am not use how, but those neckties are an indication
of the societal condition of Raleigh
NC. I like the thought of that.
You made vast use of technology in your
‘Tides’. What do tides look like through kinetic sculpture?
I like to use the concept of tides as a
metaphor for our changing landscape. It’s a poetic to think of the earth moving
(naturally and unnaturally) with time like a tide. Currently, I live right on
the Atlantic coast. Every time a storm comes through my favourite beach where I
surf is different in its shape as the entire beach is moved or completely gone.
It’s astonishing how fast it happens. Also the mining practice of mountain top
removal. It’s amazing to think that there are companies that can and will move
an entire mountain to extract the minerals within.
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| 'Tides' a kinetic sculpture by Jarod Charzewski. |
How important do you think it is for artist
to know about geology, and why?
I can’t say it’s important for all artists
in the same way that it’s not important for all artists to be familiar with the
figure, but it can be helpful. To know where your materials come from and how
they are made can be informative. I use a lot of plaster in the classes I
teach. And I talk a lot about where gypsum comes from and how it’s turned into
plaster. It informs what you make. The density of lumber in the past 10 years
has reduced due to younger trees being harvested. This effects the strength and
the weight of that you are building. We use plenty of iron ore and coke coal in
our foundry at the College
of Charleston. It helps
to understand how expensive it all is if you know where it’s transported from.
I guess it’s all about our natural resources and being aware of what it is that
you use.
REFERENCES
Lisle, R.J., Brabham, P., Barnes, J.
(2011). Basic Geological Mapping. Fifth Edition. John Wiley & Sons, Chichester
Jones, C.G., Lawton, J.H., Shachak, M. (1994). Organisms
as ecosystem engineers. Oikos, 69: 373-386
Winchester, S. (2001). The Map That Changed the World: William Smith and the
Birth of Modern Geology. Harper Collins, New
York
Zimmer, C., Roach, M. (2011). Science ink:
tattoos of the science obsessed. Sterling,
New York
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