Lumber

The Life of Pipe

This post comes to you from Shrimp Boat Projects

The iconography of a Texas oil field (postcard from Tyler, TX); Scrap yard in Houston where we bought our used oil field pipe; Fitting the pipe to the starboard bulwark of our boat; Testing the pipe for Alpha radiation with a rented geiger counter; Safe readings on the geiger counter!

It seems that everything we fix on our shrimp boat has a unique story built into it, and the gunwales we replaced a few weeks ago are no different. When we bought the boat, we inherited a particularly sad set of gunwales wrapping all sides of the boat… rotting lumber, corroding steel, burned-out pvc, a ton of poorly-applied bondo (a cement-like substance typically used on automotive body repair), these were perhaps the most visible imperfections in the boat. And so it was no surprise that upon buying the boat, we immediately set out to replace the gunwales. What we didn’t anticipate was that reclaimed oil field pipe would make a great gunwale on a shrimp boat. We need to credit John Collins for pointing us in this direction. Just a casual glance around his boat yard reveals the variety of his projects that have all used oil field pipe in some way.

Using oil field pipe as anything on a shrimp boat might sound odd,  but using the reclaimed pipe was another way for us to work within the specifics of our region. Although the largest deposits of oil may no longer be in Texas, the economy of oil and gas still permeates the state and especially the Houston region (see the previous posting). So oil field pipe is easy to find around here. You can find it in an array of gauges, widths and lengths, new and used. We found a steel scrap yard on Highway 59 in north Houston that had the right pipe for us at the right price. We borrowed John Collins’ trailer and bought four 30ft lengths with an inside diameter of 2″ and a gauge of 0.154″ (schedule 40). This doesn’t look like pipe that would bend around the curve of our boat, but sure enough, with enough cable come-alongs, levers, ropes and the help of friends,  it did.

Soon enough, oil field pipe actually seemed like the obvious choice for our gunwales. Until we got the following email from our friend John Reed who had helped us out on the boat one day: “I was talking with a friend of mine last night and we wandered onto the effect of Japan’s nukes on the scrap metal industry.  He (is in the scrap metal industry) told me that they are ALWAYS worried about radiation in scrap metal; the metal is often rejected by steel buyers if levels are too high.  ‘What kind of steel would be radio-active?’ I asked naively.  ‘Oil drilling pipe, medical equipment, stuff like that.’ he said.” Our next thought: we have a radioactive shrimp boat! So we investigated the matter and found some good background on the issue and learned that any radiation in oil field pipe is related to the NORMS and TENORMS. And we realized the only way to sleep well at night would be to test our pipe with geiger counter. Fortunately, geiger counters are rentable…but there was another catch. The tsunami had just hit Japan, nuclear fallout was spreading from damaged nuclear reactors, and every company in Houston area that would normally rent a geiger counter was shipping them to Japan. We got lucky and found a single remaining geiger counter at Suntrac in League City, TX, about 20 minutes from our boat. One hour and $50 later, we determined that none of our pipe, or anything else in John’s Boatyard was above standard background levels of radiation. Relief. We’ve had more exciting stories unfold on our boat since this episode, but thankfully no more involving radiation.

 

Shrimp Boat Projects is a creative research project that explores the regional culture of the Houston area. The primary site of the investigation is a working shrimp boat on Galveston Bay which serves as a catalyst for labor, discussion and artistic production. Shrimp Boat Projects is co-created by Eric Leshinsky and Zach Moser, artists-in-residence at the University of Houston Cynthia Woods Mitchell Center for the Arts.

Go to Shrimp Boat Projects

Think It, Do It, Blog it: What is the Next Link in the Sustainability Network?

What is the next step after the Co-op? Where do resources go after the Austin Scenic Co-op [Collaboration between Salvage Vanguard and Rude Mechs] can no longer use them? I found inspiration this week from two community service volunteers that were helping me to organize the shed where we house the Austin Scenic Co-op stock. Community service volunteers are court appointed by the city of Austin to complete a certain number of hours with a local non-profit.

This week I worked with two young men to get rid of some of our stock that had not been used since it was donated. Most of these were odd shaped platforms that are very show specific and therefore not used readily by many people. We were hauling these out to the dumpster making way for a new batch of standard 4×8 platforms –by far our most popular item to loan out. To me these old platforms –some of which have not been touched by anyone for three years–were just trash, but the guys that were helping me out asked if they could use some of the lumber. They informed me that they had friends that would break down things like what I was throwing away. If they got the things for free they could turn just enough profit to make it worth their while.

This reminded me of an essay I read recently, “Ecology and Community” by physicist and systems theorist Fritjof Capra. In it he argues that communities should turn to ecosystems to learn how to be sustainable. Capra insists that lessons learned from ecosystems aren’t mere suggestions, but are laws for how communities must organize themselves. The laws of sustainability are “just as stringent as the laws of physics . . . If you go up to a high cliff and step off it, disregarding the laws of gravity, you will surely die. If we live in a community, disregarding the laws of sustainability as a community, we will just as surely die in the long run.”

Capra identifies five laws of sustainability: interdependence, recycling, partnership, flexibility, and diversity. I think the most fascinating argument he makes in the article is when he writes, “you can define an ecosystem as a community where there is no waste.”

In establishing the Austin Scenic Co-op we have been very concerned with getting donations–making sure people know about us so that they don’t throw away set pieces that others could use. We have been working to establish networks to recycle theatre companies’ sets and we still have a lot of work to do in this regard. Now that our stock is starting to grow we are encountering a new problem–one that I did not foresee. What is the next step in the network? What do we do with those things that aren’t useful anymore to theatre companies?

Now that we have to be more selective about what we can accept and are starting to have to cull some of our less useful stock we need to establish another link in the network. Another level of recycling. I am excited about establishing another partnership one that is interested in using lumber that we cannot. And getting closer to our goal of zero waste.

–Thomas Graves, Austin Scenic Co-Op & Rude Mechs

via Think It, Do It, Blog it: What is the Next Link in the Sustainability Network?.

Ghost Forest by Angela Palmer, Trafalgar Square

Ghost Forest – London from RSA Arts & Ecology on Vimeo.

It’s an amazing achievement, to unlock this space for this kind of exhibit. The crowds I saw were drawn to the sheer strangeness and hugeness of the shapes of the trees, which are supposed to link the ideas of deforestation and climate change. Angela Palmer has done something remarkable in persuading the Mayor’s office to let her use this space for this work. Its scale and ambition makes the current occupant of the Fourth Plinth look rather irrelevant.

But, being honest, I’m not sure it works that well, either as a polemic or as art; I’m not sure it left people convinced. Palmer had originally envisaged the stumps as standing straight up, which would have made it easier to understand them as the leavings of human greed, rather than the lumber they look like. I’m guessing that it simply wasn’t practical to display the stumps like that. And the huge text billboards seemed to be as much about Palmer’s struggle to realise the work, with Antony Gormley saying “the project can’t be done”, as they were about the issue of deforestation and simply added a level of  Fitzcaraldo-in-reverse hubris. (This is like dragging the rainforest to the opera-house rather than vice versa).

When artists create events like this why don’t they let the art speak for itself and instead work closely with an NGO who can make the polemic explicit on site, and far more effectively?

Anyway, please disagree with me.

www.ghostforest.org

Go to RSA Arts & Ecology

Ghost Forest by Angela Palmer, Trafalgar Square

It’s an amazing achievement, to unlock this space for this kind of exhibit. The crowds I saw were drawn to the sheer strangeness and hugeness of the shapes of the trees, which are supposed to link the ideas of deforestation and climate change. Angela Palmer has done something remarkable in persuading the Mayor’s office to let her use this space for this work. Its scale and ambition makes the current occupant of the Fourth Plinth look rather irrelevant.

But, being honest, I’m not sure it works that well, either as a polemic or as art; I’m not sure it left people convinced. Palmer had originally envisaged the stumps as standing straight up, which would have made it easier to understand them as the leavings of human greed, rather than the lumber they look like. I’m guessing that it simply wasn’t practical to display the stumps like that. And the huge text billboards seemed to be as much about Palmer’s struggle to realise the work, with Antony Gormley saying “the project can’t be done”, as they were about the issue of deforestation and simply added a level of  Fitzcaraldo-in-reverse hubris. (This is like dragging the rainforest to the opera-house rather than vice versa).

When artists create events like this why don’t they let the art speak for itself and instead work closely with an NGO who can make the polemic explicit on site, and far more effectively?

Anyway, please disagree with me.

www.ghostforest.org

Go to RSA Arts & Ecology