This post comes from the Artists and Climate Change Blog

My exhibition SAARI/ISLAND was on display March 15-June 15, 2017 at the Nordic Northwest in Portland, Oregon. SAARI/ISLAND takes a nostalgic look at my childhood experience growing up in Finland, where nature is all encompassing and gives life its rhythm through the passage of the seasons.

SAARI/ISLAND started with the idea of water. The concepts of melting and flooding have a special resonance for me. I grew up an urban kid in the winter, enjoying snow play, and lived an island life in the summer, planting, harvesting, picking berries, and fishing. Reading the signs of Northern nature and memorizing the names of plants, berries, and flowers, along with their seasonal patterns, was part of my life.

Much later, I studied at the University of Hawaii in Manoa. I discovered many different climate zones on the islands of Hawaii. In addition, life next to the Pacific Ocean left me with a sense of existential vulnerability. I became fascinated with the contrasts in our existence. The vast scales of the Global North and Global South needed attention. From a climate change perspective, the distance and gap between the two was overwhelming.

With climate change, everything might be different. How will the changing temperatures affect growth in the Arctic region? Seasons are a necessity in the North. What will happen in the Southern hemisphere, which is so sharply different from the Northern hemisphere? These questions left me with many more questions. I moved to New York City, and from there, traveled to the California coast, visiting national parks and trying to reconnect with the Pacific Ocean. During these trips, I collected photographs of each place I visited. I started doing this while living in Hawaii. I felt that the contrast between different places called for a documentary lens, and created much of the artistic work by itself.

All the photographs in SAARI/ISLAND come from a close investigation of California’s Big Sur, Kings Canyon, and Yosemite National Parks. Burned forests and the Pacific Ocean became images of beauty. However, experiencing these things first-hand was shocking and humbling.

The images included in the exhibition were a selection from my nature portfolio. I chose to juxtapose photographic and painted works to reflect my experience of coastal forests, showing how nature shifts between beautiful and horrible. The Pacific coastal region struck me as barren and isolated. The scale of nature there creates a sense of prehistoric time. I wanted to trace back and re-imagine prehistoric and early times in our human existence. My paintings offer a glimpse of changes over time – metaphoric landscapes inspired by the Finnish Kalevala, Viking symbols, animals such as swans, lizards and insects – thus hinting at possible futures.

Island of Pearl, 2016.

Phenomenology
SAARI/ISLAND included an installation titled 1-button Rainjacket. It was inspired by Hurricane Sandy, which hit the East Coast of the United States in 2012. The rain jacket used in the piece dates back to 20 years ago, and is labeled “Landsend unisex apparel.” It was used in New York City during Hurricane Irene in 2011 and Hurricane Sandy in 2012. Then it became an installation piece.

How can we give tribute to one person’s experience, and at the same time, make it a shared experience? One way to look at this is from the point of view of phenomenology. Phenomenology is a philosophical, first-person methodology used to explore the structures of experience and consciousness. It stresses the importance of our perceptions, and states that we are in the world ultimately as bodies. What is great is that phenomenological philosophy already has lots of ideas about art and artists.

In 1945, French philosopher Maurice Merleau-Ponty wrote Phenomenology of Perception(Phénoménologie de la perception). In this book, he builds upon the idea of phenomenon as simplistic being-in-the-world structure, and develops further the role of perception in our actions. We are primarily here as intentional bodies; the body is not a separate entity from our consciousness.

Artists can use phenomenology – in other words, they can use personal experience to access knowledge from within. From this perspective, an artist can only directly address her own perception. Again, from this perspective, there is no one single idea or experience of climate change.

SAARI/ISLAND reflects a personal connection to nature, yet the bigger theme of climate change is a shared one. I was curious about environmental changes, and ways to portray them through the artistic process. The timespan between the different works was only few years. But rather than emphasize the years between the works, I planted the idea of change as affecting us in the future. If there had been a narration as backdrop for this exhibition, it would have started with stories from my childhood island environment and expanded to the current events. For sure, the stepping back and correcting would be partial. This artistic process requires more going-back, and adding to the current state.

An art show can contribute in a number of ways. SAARI/ISLAND added to the conversation about how changes in our environment affect our ways of being with and experiencing nature. This particular show looked at water and coastal forests, bringing forth the oppositional concepts of energy, conservation, and degradation. These ecosystems need our attention.

(Top image: Water Spirit, 2017.)

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Inka Juslin is a dancer, visual artist, and writer from Finland, currently living in New York City.  She holds a PhD from social sciences/cultural studies, and artistic research. She was a visiting scholar in the Performance Studies Department at New York University in 2007-2010, and in the Department of Germanic Languages at Columbia University (2011-2014). She has created works in collaboration with artists and scholars, using dance, performance, video, photography, architecture, fashion, and other means of visual storytelling to create intersectional, interactive, and live performances as well as installations. Her recent exhibition SAARI/ISLAND was on display until June 15, 2017, at the Nordic Northwest in Portland, Oregon.

About Artists and Climate Change:

Artists and Climate Change is a blog that tracks artistic responses from all disciplines to the problem of climate change. It is both a study about what is being done, and a resource for anyone interested in the subject. Art has the power to reframe the conversation about our environmental crisis so it is inclusive, constructive, and conducive to action. Art can, and should, shape our values and behavior so we are better equipped to face the formidable challenge in front of us.

Go to the Artists and Climate Change Blog

This post comes from the Artists and Climate Change Blog

Last year, I traveled to the Galápagos Islands. I felt I had stepped back to a place I recognized from my past but had only experienced in my imagination. As a child, when the world seemed so big and boundless, I explored landscapes like this, untouched by humans. But as I stood upon the volcanic rock of this dynamic ecosystem filled with life, I felt the fleetingness of its being in every step I took. Both beautiful and foreboding, I wanted to somehow envelop it, to enclose this place in a cavity of myself where I could keep it, protect it, defend it, and sustain it.

But, who am I? I’m not a scientist who can uncover data-based solutions. I am not a politician who can develop a multi-national logistical plan for action. I am an artist, and artists possess a unique and crucial skill – the ability to communicate. Scientists and politicians have their own particular vernacular, but artists have the ability to access that part of human interconnectivity that cannot be communicated through language. My artistic practice is a social practice – my task is to create methods and approaches that destabilize linear ways of knowing and understanding the world.

In December 2015, I created A Poem for Lonesome George dedicated to the last Pinta Island tortoise who passed away in 2012, 40-years the sole survivor of his species. The work was designed for the Boston Convention Center’s marquee – an 80ft x 24ft seven-screen outdoor video display. Inspired by the work of Krzysztof Wodiczko, I used the architectural structure of the building to create a memorial for George – its physical size a testament to the significance of George’s existence and his passing. I created the piece not only for George, but for us as well, because in 2012 on that research station in the Galápagos, a part of us died too. A part of our planet, a part of our humanity, and a part of our existence was gone. The work had its intended effect: people wanted to know more about George, and they expressed cross-species empathy for a dead reptile. That is the power and the possibility of art.

My recent project, Wish You Were Here: Greetings from the Galápagos, is a three-channel experiential video installation. As an interdisciplinary artist, I utilized an assortment of mediums and strategies: digital animation, photography, collage, traditional drawing, and live action video. The viewer stands in the center of the piece, with imagery in front of them and on either side. The left and right screens represent the change of the seasons and atmospheric phenomena – the original habitat of now extinct species. Extinct animals begin to emerge on these screens; they appear chronologically as they disappeared from earth. The middle screen is filled with still present animals, a composite of travel photographs I took in Galápagos. Slowly, they transition into extinct species by changing from color imagery to pencil sketches, then disappearing from the middle screen and appearing on the left or right. A human figure (me) moves within the landscape as both a guardian of collective memory and as an embodiment of present-day eco-consumerism.

The installation navigates the unsteady terrain between environmental advocacy and tourism, conservation and consumption, sustainability and exploitation. There is a tension between the exploitation of the natural world, and the desire to preserve and sustain it. I appear as the artist, studying and sketching these extinct animals – acting as an archivist or a dreamcatcher – attempting to write them into our collective memory. I also participate in conventional tourist-based activities: taking and posing for photos, relaxing, reading, doing bad yoga. I appreciate the animals, but am completely oblivious to their transformation and eventual relocation to the realm of mythology. Through all my actions, I invite the viewer to recognize themselves.

In my work, I often create fantastical landscapes that are intended to provide a physical representation of a mental space. This surrealist approach to communication exposes the limitations of language, and opens up a space for the viewer to explore alternate ways of accessing and connecting to the emotional realities of others. In this piece, I make reference to the earth as a conscious being that experiences climate change as trauma – impact in one sphere creates profound effect in another. I utilize abstracted brain scan imagery, animated synaptic flashes, and the interactive compartmentalization occurring on all three screens to convey the interconnectivity of human action/impact, as well as how our existence is directly linked to the existence of other species. I’m also interested in the tension between our ability to employ medical devices to “read” physical changes in the brain based on trauma response, and the blatant inadequacy of language to convey the actual experience of trauma. The piece concludes when an ominous sun – visually akin to popular atomic bomb footage – devours the entire landscape and the viewer is left alone in a pure white light. The explosion of the visuals is in stark contrast to the sound of absolute silence; there is no life remaining to hear the destruction of our world.

Ultimately, it is the interconnectivity of our existences that will save or destroy us. Wish You Were Here: Greetings from the Galápagos is intended to construct a quiet space for reflection on oneself and on one’s manner of engagement with the world. The meditative quality of the piece will kindle action by allowing time for reflection on our intimate kinship with other species. In today’s world, the space for this sort of contemplation is not readily available or even encouraged, but it is necessary if people are to make significant changes in their lives. My work creates an alternative space, a unique experience, in order to initiate a new dialogue about environmentalism. By providing the opportunity for a private moment, Wish You Were Here encourages radical thinking about the impact of our daily practices and the urgency of the challenges facing our planet.

(Top image: Wish You Were Here: Greetings from the Galápagos (detail image) by Allison Maria Rodriguez, 3-Channel Video Installation, 2017.)

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Allison Maria Rodriguez is a Boston-based interdisciplinary artist working predominately in new media, film/video and installation. With themes ranging from human migration to data visualization, her work converges on a desire to understand the space within which language fails and lived experience remains unarticulated. Rodriguez’s work has been exhibited internationally in both traditional and non-traditional art spaces. Her most recent projects include several large-scale public art video installations commissioned by Boston Cyberarts and the Massachusetts Convention Center Authority. She received her MFA from Tufts University/The School of the Museum of Fine Arts, Boston.

About Artists and Climate Change:

Artists and Climate Change is a blog that tracks artistic responses from all disciplines to the problem of climate change. It is both a study about what is being done, and a resource for anyone interested in the subject. Art has the power to reframe the conversation about our environmental crisis so it is inclusive, constructive, and conducive to action. Art can, and should, shape our values and behavior so we are better equipped to face the formidable challenge in front of us.

Go to the Artists and Climate Change Blog