Artists respond to the climate crisis
 

Launched in 2022, this virtual version of Points of Return unfolds across six themed Viewing Rooms – best explored full-screen on desktop, laptop or tablet – presenting engaging, climate-focussed artworks in a range of voices, spanning several disciplines. In 2023 the first physical manifestation of the exhibition was held at The Umbrella Arts.

Estimated length of online visit: 40 min+

 
 

 
 

I
Ground

Ulrika Sparre | Bethany Johnson | Collin Bradford | Emilio Fuentes Traverso

II
Heat

David Ellingsen | Miguel Sbastida | Jacinda Russell | Adam Sébire (i)

III
Retreat

Adam Sébire (ii) | Planetary Intimacies | Angela Gilmour | Michael Krondl | Justin Levesque

IV
Eclipse

Felipe de Ávila | Anne-Katrin Spiess | Tom Rice | Virginia Woods-Jack | Fae Logie

V
Root

Pieter Colyn & Emilie Miller | Evalie Wagner | Luke Myers

VI
Return

Fiona Carruthers | Tanja Geis | Erin Woodbrey | Tamara García | Miguel Jeronimo

 
 

Opening images: (i) Ulrika Sparre (ii) Adam Sébire (iii) David Ellingsen

Top.jpg
 

Ground

Viewing Room I: Points of Return

 
 

Ulrika Sparre

Special Jury Selection

 
Ubehebe Crater.jpg

Ear to the Ground

Ear to the Ground is a search for the spiritual in the physical fabric of the landscape, reflecting upon how relationships between the natural and spiritual world are created and transformed. The project has taken the artist through the archipelago of Stockholm, across the desert of Death Valley, and into the caves of nomads in South Africa. In her film Ear to the Ground: Wandering Rocks (below) an expedition is undertaken, exploring how the artist perceives the land and rocks of the desert. Throughout the project, Sparre has performed field recordings of the ground, reflecting upon what we understand and take from our experience of a specific space or object. Through the use of contact microphones, random and unique vibrations from ancient wandering stones within the deserted landscape are etched into digital permanence.

Ear to the Ground: Wandering Rocks (2020) | Short film | 09:04" (Password: Wandering rocks)

Ear to the Ground seeks to break down distance and the perception that nature exists apart from us. In order to face the threat of climate change, we must give voice to non-human actors – the gardens, the cities, the stones, the glaciers. Sparre wants to investigate how our relationship with the natural world can be re-evaluated by giving it a voice and a possible language. ‘Perhaps by repositioning our perspective, we can give rights to our environment and to the non-human actors of our world’, Sparre tells us.

Racetrack (scene from Ear to the Ground) | Film still

Ubehebe Crater (scene from Ear to the Ground) | Film still

Sparre’s project is a combination of cinematic atmospheres, intriguing images and curious sounds that introduce us to the hidden, enduring and enchanting world of rock. Through careful and attentive landscape placements, the scenes offer a possibility to listen in to our future relationship with the Earth by paying attention to the often overlooked character of geologic situations. This absorbing and poetic work becomes a sensitive reading of our bodies in relation to the deep histories of the desert, and develops a language for an environment whose voice is not always heard.
— Jury Member: Luce Choules

Death Valley (from Ear to the Ground) | Photograph

I am drawn to Sparre’s mandate in giving voice to non-human actors. This work has drawn me to the seemingly contradictory fact that, as she puts it, ‘there is a nature that exists apart from us’, alongside Tim Ingold’s stance that ‘non-human entities of all sorts can enter into relations with one another, and even hold meanings for one another, which do not depend in the slightest on how they are used or perceived by humans, or even on any human presence at all.’ Sparre’s work invites me to stop and take on the role of spectator – I feel connected to something bigger than me.
— Jury Member: Joseph Calleja

The entire universe is created by me | Engraved stone | Photo: Fredrik Sweger

 

Swedish artist Ulrika Sparre (b. 1974) lives and works in Stockholm. She applies her artistic practice to multiple media creating installations, sculpture, photography, film, performance and sound art. 

Sparre investigates the mechanisms, behaviours and social patterns that constitute our lives. Her work is often based on notions of the immaterial, the spiritual, and the mythological. The Leyline Project (2012–2018) examines an ancient phenomenon with research covering several aspects of Earth energies. In her series of works with rocks (and sound recordings) she aims to present the hidden messages of the landscape.

In recent years, Sparre has exhibited at Färgfabriken, Reykjavik Art Museum, Varbergs Konsthall, Stene Projects Gallery and Index Foundation. Additionally, she has performed a number of projects in public spaces. She studied at Konstfack (University College of Arts, Craft and Design) in Stockholm and at the Gerrit Rietveld Academie in Amsterdam.

Sparre breaks it down for us on clear terms. To combat the climate crisis there is, quite simply, only one thing we must do: listen.
— David Cass
A society grows great when old men plant trees in whose shade they shall never sit.
— Greek Proverb

Points of Return gathers works by twenty-five artists and creative collaborations from around the globe that explore wide ranging aspects of the climate emergency. In this online version of the exhibition you are encountering artworks illustrating some of the key challenges our planet faces, as we approach what many describe as a “point of no return” – from projects responding to the increasing wildfires in California, to the rapid decrease of kelp forests in that same region. From the important role played by marshlands in protecting the East Midlands of England to the deforestation of the Congo Basin rainforest. From disappearing ice at our poles, to the rapid spread of plastics into landscapes and waterways around the world. In just one century, we have fast-forwarded through warming which should have taken thousands of years. We have nearly doubled the volume of carbon in our atmosphere, increased methane levels two and a half times over, pushed up average sea-levels 8–9 inches / 20–23cm, and killed off over half our coral reefs. And yet, while it might seem that we are racing through a closing act, solutions remain within sight. The artists here offer commentary, reflection, and creative restorative strategies.

Essentially, this online exhibition brings to the surface the problematic relationship the human species has toward planet Earth and highlights how human activity, particularly since the beginning of the Industrial Revolution, has induced climate breakdown. Yet, we firmly believe there are reasons for optimism. The projects exhibited show that there are multiple paths and approaches that can be taken, in order to restore the environmental balance that we have destabilised. A La Luz (a project founded by artists Gonzaga Gómez-Cortázar and David Cass) believes that creative practitioners play a vital role. Through their work, they bring to light overlooked realities and nuances of the climate crisis, reminding us that, as Greta Thunberg puts it, ‘our house is on fire.’

Nature writer Barry Lopez wrote that ‘the mind, full of curiosity and analysis, disassembles a landscape and then reassembles the pieces.’ In this case, we could write that ‘the artist’, or ‘the creative mind, full of curiosity and analysis, disassembles a landscape and then reassembles the pieces.’ For, this is what each one of the artists in this online exhibition has done – focussed in one element or another, of our dismantling planet, and used their creativity to provide us, the audience, with an entry point framed by their interpretation of the data. This is climate breakdown of another sort, where providing entry points and accessible narratives is key.

Like the phases of an eclipse, the online presentation unfolds across six sections (Viewing Rooms), to describe a movement or rotation, coming full circle. It’s a journey through different planetary ecosystems, art disciplines and mediums. These artists have immersed themselves in jungles, marshlands, deserts, oceans, and forests. They have researched and captured how even the most remote and inaccessible environments have the fingerprints of human activity. These processes, explorations and reflections take on various formats – including video art, installation, sculpture, and photography.

The exhibition opens here at ground level, with Ulrika Sparre asking us to place our Ear to the Ground. Quite simply – to listen to our Earth’s non-human actors. As we progress through the exhibition, we lift our gaze. Spread throughout are glimmers of hope. Tanja Geis and Fiona Carruthers urge us to pay attention to our natural resources. Erin Woodbrey and Bethany Johnson promote the importance of sustainability through use of recycled, reclaimed, repurposed materials. And our closing artist is Miguel Jeronimo, whose stunningly effective project carries what could be considered the strongest strategy at our disposal in tackling the climate emergency – a shift in perspective.

Points of Return references the fact that, while we are close, we haven’t yet reached the dreaded “point of no return” – there are still opportunities to move toward a balanced, more sustainable and harmonious way of living. Artists are in a unique position, able to creatively present scientific findings in an accessible manner – raising vital awareness, inspiring collaboration and communal action. After all, if we are to solve the climate conundrum, we must all contribute. Collaboration is key. Planting those proverbial trees today, will indeed greatly benefit the lives of those who will follow us.

 

Curators David Cass & Gonzaga Gómez-Cortázar | February 2022

Top.jpg
 

Bethany Johnson

Special Jury Selection

 
BJohnson_03.jpg

Safe Keeping

Johnson’s practice deals intrinsically with notions of anthropogenic environmental issues: in particular, matters of material consumption and the resulting pollution, climate impacts, and landfill waste. In line with the spirit of the exhibition title, the works presented here embody both anxiety and hope – alarm alongside a meditative, poetic calm. In this way, these works grapple with the dual experiences of grief and joy in nature familiar to any informed lover of the natural world at this moment deep in the Anthropocene.

Safe Keeping: Untitled I (2020)
Mixed media: wood, plywood, MDF, cardboard, chipboard, paper, plastic, foil food wrappers, fabric, aluminium, foam, fabric, rubber | 5 x 4.5 x 3.5 inches

Safe Keeping: Untitled II (2020)
Mixed media: wood, plywood, MDF, cardboard, chipboard, paper, plastic, foil food wrappers, fabric, aluminium, foam, fabric, rubber | 8 x 5.25 x 3.75 inches

Reminiscent of geologic formations, and appearing perhaps at home within a cabinet of natural curiosities, the intimate sculptures of Safe Keeping offer a multi-layered meditation on deep time, material metamorphosis, and the anthropogenic landscaping of landfills, quarries, and road cuts.

These works take the form of stratified plinths of contrasting materials that are reminiscent of geological core samples, landfill strata, archival stacks and material storage. While the layered compositions strongly evoke land formations and geologic processes, all of the materials are discarded or found waste items, thereby also addressing notions of anthropogenic waste and its entombment. The waste materials are both reclaimed from the artist’s personal waste stream, as well as recovered from the landscape during regular litter removal excursions.

These dimensional works are first assembled and composed by cutting and stacking collected waste materials, including plastics, paper, aluminium, fabric, foam, cardboard and wood. Densely bound together with pressure by a hidden, internal armature of screws and bolts, the final sculptural forms are then trimmed and sanded to a smooth polish.

The works’ satin surfaces evoke the hand-worn patina of worry stones, and the modest scale suggests the intimacy of a beloved keepsake or archived natural specimen. Despite their commonplace and otherwise abject component materials, the final results are mysterious and entrancing: the weighty sculptures reveal themselves slowly, asking for close examination and gradual discovery of their origins.

As a quietly urgent meditation on the damage of material consumption on our natural environment, the works of Safe Keeping offer a new alchemical life to otherwise discarded litter. This body of work addresses the artist’s growing concern around anthropogenic environmental degradation, and serves as a holistic practice that functions simultaneously as art-making and act of service, aesthetic inquiry and humble act of contrition and environmental repair. Safe Keeping is an anxious, doting, necessarily inconclusive meditation on the Earth, on our place on it, and on our collective futures.

Safe Keeping: Untitled IV (2020)
Mixed media: wood, plywood, MDF, cardboard, chipboard, paper, plastic, foil food wrappers, fabric, aluminium, foam, fabric, rubber | 6.5 x 7 x 2 inches

Safe Keeping: Untitled V (2020)
Mixed media: wood, plywood, MDF, cardboard, chipboard, paper, plastic, foil food wrappers, fabric, aluminium, foam, fabric, rubber | 5.5 x 4 x 3.5 inches

At first sight the sculptures of Bethany Johnson might remind you of those models of geologic formations in classrooms that teach us the different stratifications of the Earth. On a closer look you are confronted with what you are actually looking at: landfill waste. If the era of the Anthropocene means humans are impacting the earth on an irreversible geological level this work speculates where we might be going. The concept of geological impact and deeptime is hard to imagine, as it concerns a scale that goes beyond human lifetimes and even humanity. Johnson gives us tools to grapple with the notion of deeptime, instilling both a deep feeling of sadness that catalyses an acute desire to act up. Beautiful and intriguing as the sculptures are at first sight, they are also alarming us that surely this is not the legacy we want to leave behind.
— Jury member: Yasmine Ostendorf
 

Bethany Johnson is an artist currently living in Austin, Texas; working in drawing, collage and sculpture.

Johnson received her BA in Studio Art from the Kalamazoo College in 2007 and MFA in Painting at the University of Texas in 2011. Her work is represented by Moody Gallery in Houston, where her fourth solo exhibition was presented in December 2020. Johnson’s artwork has been featured in New American Paintings, Hyperallergic, and HuffPost, among others, and she has held residencies at Denkmalschmiede Höfgen in Grimma, Germany, Institut für Alles Mögliche in Berlin, and Joshua Tree Highlands Artist Residency.

 

Top banner image: Safe Keeping III (2020) | Mixed media | 7.25 x 5 x 2.75 inches

 

Collin Bradford

 
InTheLiquidDesert_02.jpeg

In the Liquid Desert

In the Liquid Desert is chiefly a work of video art inspired by a hypothetical – but very possible – future in which decades of drought and wildfires have rendered the Great Basin region (Nevada and Utah in the United States) inhospitable to human life.

In the Liquid Desert (2021) | Film still

In the Liquid Desert (2021) | Film still

The film unfolds as an exchange of messages sent over satellite networks between Nova, who has stayed behind to live alone with her small son on the shore of the lifeless Great Salt Lake, and her geologist friend Sam, who migrated along with millions of others to the Great Lakes region. Nova’s understanding of herself and her relationship to the land changes radically throughout these messages, as she becomes viscerally aware of her embeddedness in material cycles and as she comes to think more on geologic timescales. This work uses human narrative and the low-tech of simple message exchange, to focus awareness on the geologic flow of matter, the processes of the natural world that will continue independent of human survival, and how deeply embedded we are in these cycles and processes that we frequently ignore.

In the Liquid Desert (2021) | Short film | 25:46"

This disaster film rejects pornography in favour of quiet, deep examination of the relationships among its three human characters and more broadly among the human and non-human (other animal life, plants, landscape, matter, time).
— Jury Member: Miranda Massie
 

American artist Collin Bradford makes video works, photographs, sculptural objects, drawings, and other artistic forms.

They each incorporate his exploration of how we understand and relate to the land we inhabit and how language relates to our understanding of ourselves in the land. He has lived all over the United States and currently resides and works in Utah. In his own words, ‘…making art is a way for me to grapple with the world around me. To be vulnerably honest, in the face of terror (coming environmental devastation, ongoing injustice, etc.) making art is a way of trying to learn to love the world.’

‘After living most of my life in the lush Great Lakes region of the United States, in my late 30s I moved to the desert of the Intermountain West where geologic time is manifest all around me. Human presence in this land since the arrival of Europeans has involved nuclear, chemical, and biological weapons testing, massive feats of geo-engineering to irrigate the desert, mind-boggling mineral extraction, and the near erasure of the region’s indigenous peoples. For me this land is a microcosm of humans’ relationship with our planet.’

 

Emilio Fuentes Traverso

 
Neotectónica - 05.jpg

Neotectónica (Neotechtonics)

With collage as its ground, this photographic project explores the natural landscapes of Northern and Central Chile. These photographs have been manually manipulated so as to describe fractures, suggestive of the environmental transformations generated by activities such as mining.

The series looks to the land, referencing issues including desertification, erosion, loss of fertile soil and destabilisation of slopes. These types of phenomena are the consequences of anthropogenic actions, capable of modifying the geography of the land.

And so, the images in this series show overlaps, folds, offsets and reliefs – each unstable and uncertain. These new fictional landscapes become an unsettling vision of the future, leading us to rethink our vulnerability and the path we find ourselves upon.

Neotectónica I (2021) | Manipulated photograph

Neotectónica IV (2021) | Manipulated photograph

Neotectónica III (2021) | Manipulated photograph

 

Born in 1983, Chilean artist Emilio Fuentes Traverso aims through his practice to distort time and give images a new meaning, observing natural and social phenomena.

‘I graduated in Biology B.S. at the Universidad Metropolitana de Ciencias de la Educación (UMCE), and hold a Diploma in Digital Photography: Aesthetics and Techniques from PUC, and an MA in Image Studies from the Alberto Hurtado University in Chile. I have combined my profession with various activities related to photography. Since 2008 I have participated in collective and individual exhibitions, workshops, art fairs and contests, photographic projections and portfolio reviews in Chile, Spain, Brazil, Slovenia, Argentina and Mexico. Currently, I am taking a production and work analysis workshop taught by visual artists Rodrigo Zamora and Raimundo Edwards.’

 

Top banner image: Neotectónica II (2021) | Manipulated photograph