Bioremediation

The Culture of Bioremediation: Terry Hazen Interview.

The signature on an email from Terry Hazen is a paragraph long. It has to be- it lists a multitude of titles.  He’s the Head of the Ecology Department at the University of California at Berkeley. The Head of the Center for Environmental Biotechnology. The Lead of Microbial Enhanced Hydrocarbon Recovery at the Energy Biosciences Institute. The list goes on. Hazen is, therefore, the perfect man to talk to about our current attempts to correct massive ecological f-ups, and what that means for artists.

Hazen’s world is inhabited by mircoorganisms, or, as he colloquially refers to them, “bugs.” There are bugs that eat pollution, bugs that chemically reduce uranium, bugs that feed on hydrocarbons. ” I still feel a lot of people are amazed that there’s a bug out there that can degrade just about anything, ” he says. While the idea of the “magic bug” is sometimes helpful to the remediation industries, there is, he cautions, no bug without context.

“It’s so easy to sell bioremediation, ” he says. “It can completely degrade contaminants in laboratory settings, (but) in the environmental settings it may not work as effectively, or make it worse.” He cites the example of arsenic, which actually becomes more soluble– and  likely to contaminate the water table– when reduced.

“Some companies will go for the quick fix, not realizing that in cleaning up one contaminant, they exacerbate three others, ” he laments. “They often don’t look for a complete solution.” Hazen’s work  is dedicated to more of a “complete systems biology” approach. Sometimes, he argues, the best thing for a polluted site is to just leave it alone. You can see one of his excellent and comprehensive lectures here.

While navigating the maze of invisible bug-land, Hazen keeps environmental art within reach. On his office wall hangs a piece of artwork by a 10-year old girl, depicting storks in the Danube river riparian zone. He obtained it while in Serbia for an Environmental Remediation meeting.

“Art that educates or just inspires people to reuse, recyle, reduce, and remediate, to make our land and water less toxic and less toxic for generations to come makes us all better doesn’t it,” says Hazen. He would know: he spends much of his time managing the methods that attempt to clean up our mistakes.

Go to the Green Museum

Brent Bucknum of Hyphae Design: a profile.

We don’t have time to do environmental at that’s not functional.

– Brent Bucknum



In working on a Climate Clock for the San Jose Initiative, designer Brent Bucknam would often get into theoretical debates about the nature of art. His project partner, Brian Howe of greenmeme, would quote Picasso: Art is the lie that reveals the truth. Brent’s response was the quote above.

It’s one of the central questions of the environmental art movement, and one that is integral to Brent’s work with Hyphae Design Laboratory, a company he founded.

How can art save the world?

Artists on greenmuseum.org and elsewhere  are blurring cultural boundaries between art and science, science and activism, volunteerism and performance. Traditional forms hold fast, but functionality remains central to Hyphae’s work. Function: defined by this designer as “interpreting and conveying ecological information or serving otherwise as an ecological tool or system.” Hyphae is currently working on a project in West Oakland, a plan to line the 580 highway on either side with towering stands of bamboo, natural air and particulate filters. On a greenmuseum.org-sponsored panel at the recent Earth Matters on Stage Symposium, he presented a number of other exciting projects, from green roofs to living walls.

The 28-year old designer went to a farming high school. He worked for bioremediation and green roof companies before joining Rana Creek, with which he worked on the California Academy of Sciences’ living roof. He became that company’s first Director of Design before moving on to create Hyphae.  He sees his new company as a catchall, providing services from ecological design and research to consulting for artists interested in environmental projects.

That last aspect is the result of Bucknum’s own experiences making environmental art: he’d like to see artwork that ’s better informed by ecology, not, as he puts it, the “horti-torture” that creates living systems barely able to survive the duration of an exhibition. He’d like the art to be the change it would like to see in the world: smart, sustainable, and thriving.

Go to the Green Museum