Do we need more Biorock reefs in Florida?

I just received an email asking about the potential for Living Sea Sculptures in Florida.

“Living here in Sarasota, FL, I’m wondering if a Bio-rock reef would increase the fish populations that dolphins and porpoises eat, and therefore would keep them here so that we humans could see and appreciate their majestic beauty more often. I believe we have dwindling populations here now. Have to talk with some marine biologists here… am in initial thinking about how an art-sci project could catalyze and galvanize the community on this issue. Perhaps it’s planting more mangroves that we need, while also educating public on benefits of “zero-scaping” to stop fertilizer run-off from ocean-side lawns.  Any thoughts on the benefits of Bio-rock sculptural reefs here?

My response: I would LOVE to work on more projects in Florida.  It’s a great place to expand the current approaches to coral nurseries and integrative ecological healing, community interaction, and local economy. There is an existing project, the first coral reef fisheries habitat and restoration project using Biorock mineral accretion in the US, installed in 2011 at Lauderdale-by-the-Sea.  The Global Coral Reef Alliance worked in collaboration with Vone Research and the Lauderdale-by-the-Sea Commission to create this unique site powered with solar buoys.

This video shares some of the ideas and theories motivating the project.  I talk with marine biologists and scientists often to gain up to date information about the state of coral and ocean health since there are so many variables at play when considering climate change, acidification, resiliency, and adaptation.  Amidst the differing opinions and uncertainties, one thing seems to stand constant, restoring reefs and cultivating coral with awareness of their biological needs as they relate to environmental stressors are critical pieces of the present day foundation to build future coral reef ecosystems.

The Biorock process allows us to realize dynamic, organic compositions with living organisms in the fluid sea as a means to nurture a sense of belonging and place high value on loving action to heal the polyps and their beautiful colonies.  With more sculptural reefs and less fertilized lawns, Florida will invite more fish and dolphins to their coast.

 

 

 

 

prehistoric to present – forests from the trees

Tree of 40 Fruit, 2008 - present

Recently I was at an event where a beautiful tree by artist, Sam Van Aken, was being auctioned off to benefit Creative Capital. It was not in full flourish yet, but still a young green leafy growth with 20 varieties of stone fruit grafted: a technique whereby tissues from one plant are inserted into those of another so that the two sets of vascular tissues may join together. This vascular joining is called inosculation, and allows for asexual propagation of related species.

The process takes years for Sam to work with his plants to cultivate these sculptures that have a life of their own.

Sam with one of his hybrid trees, 2013

Here is a description, in his own words, about this hybridization and interdisciplinary project.

 The Tree of 40 Fruit is an ongoing series of unique hybridized fruit trees. Blossoming in variegated tones of pink and white in spring, through a process of sculpting by way of grafting and pruning, each tree in this series has the capacity to grow 40 varieties of fruit from the family of stone fruits including peach, plum, apricot, nectarine, and cherry, and will reach an approximate size of 20’ tall with a canopy of 20’.

 

The Tree of 40 Fruit are allegorical sculptures. As a symbolic number found throughout western religion, culture, and government, the number 40 symbolizes the infinite, a bounty that is beyond calculation. Like the Tree of Life in the Garden of Eden, these trees are a potential; they are the beginning of a narrative that transforms the site they are located in. The far-reaching implications of these sculptures include issues of genetic engineering, biodiversity versus food monoculture, and, ultimately, the symbiosis of humankind’s relation to nature. 

 

One of the most challenging aspects of the work is the planning or envisioning of how each graft, time of blossom, and fruiting will change the aesthetic and balanced quality of the tree. It is at this point that the process becomes sculptural. Nature poses a challenging collaborator. Where a bronze sculpture would provide an easier ally, working with living material can be temperamental. But it is this living quality that I feel gives the tree its greatest impact and potential.

 

The innate challenge of attempting to effect an aesthetically directed and functional “lifestyle” for multiple organisms without overshadowing nature’s voice within each tree is a microcosm of the perennial, universal quest for balance in uncertainty.  This is the same story with Living Sea Sculptures.  Although I have yet to begin “pruning” the aquatic topiary-like forms, I’m thinking of how to bridge the divide between destructive human desires, needs, actions and constructive organic ecosystems. Artists who work with other beings that don’t speak in words are blurring the lines of art, science, and technology as they develop interspecies projects and dialogues.  I’m in awe of the quiet partners, since they’ve been around for so many thousands, or millions, of years, and in relation to them, we are Earth dwelling novices exploring their unique reproduction and life-giving bounty.

Now, to share a quick look into our ancient tree-lined past.  In case you haven’t heard of the primeval forest in the waters of Alabama, it dwarfs our relatively new research into collaborating with living nature.  Buried for years without Oxygen, it has persisted with its Cypress smell intact.  In 2005, Hurricane Katrina most likely ripped back the protective layers of sand and sediment to reveal this 50,000 year old forest.  One person suggests it has been in the ocean for 12,000 years; most accounts I find say it is estimated at 50,000 years old, but as you see in the video, it is not long for this exposed world.

Something about unexpected ancient forests surviving in the ocean juxtaposed with a 40 stone-fruit forest springing from one tree…I can’t stop thinking of Thoreau’s quote that I saw this past week while helping a friend wrap up his mother’s, Barbara Rothenberg’s, artwork at her studio.

“Though I do not believe that a plant will spring up where no seed has been, I have great faith in a seed. Convince me that you have a seed there, and I am prepared to expect wonders.”- Henry David Thoreau