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ARTWALL

Zine

International Contemporary Art

N.49

Jason de Caires Taylor

Under the Sea Museum 1


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Jason de C 6


www.jasondecairestaylor.com

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Caires Taylor 7


The organic human figures sculptures by Jas

Jason plays with the living elements and interacts with them. His works are conceptual, human emotionally. Jason plays with the creative power of the universe. He is brave 8

enough to put themselves in another dimension.The seabed. Another world. Another mystery.The underwater museum of Jason Taylor, is magical and fascinating.Eclectic,


son Taylor are the visual concept of true Art. conceptual, popular, philosophical, pragmatic, simple, spiritual, cosmic, modern. Old, emotional, sincere, respectful, proud. And principal,beautiful.Yes, Jason De Caires Taylor Underwater and his work definitely earned a place in the History of Contemporary Art International(Editorial)

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Jason deCaires Taylor is an internationally acclaimed english eco-sculptor who creates underwater living sculptures, offering viewers mysterious, ephemeral en-

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Overview counters and fleeting glimmers of another world where art and life develop from the effects of nature on the efforts.

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His site-specific, permanent installations are designed to rine biomass and aggregating fish species, while crucially d and thus providing space for natural rejuvenation. S of the underwater environment, his symbiosis between man balancing o f and

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o act as artificial reefs, attracting corals, increasing madiverting tourists away from fragile natural reefs Subject to the abstract metamorphosis s works symbolize a striking and nature, messages hope loss.

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Since 2006 he has created and founded tw the island of Grenada in the West In mented as a “ Wonder of the World” by N tion of over 412 pieces aquático de Arte),now world’s most unique

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wo large scale underwater Museums, one on dies, which has subsequently been docuNational Geographic and a monumental collecin Mexico called MUSA ( Museo Sublisted by Forbes as one of the travel destinations.

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ARTwALL

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Under the Sea Museum

Cancun - Mexico


Jason de Caires Taylor

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The Listener MUSA Collection. Cancun, depth 4m

ering with Marine Biologist Heather Spence and pupils

Ecab A.C, The Listener portrays a lone figure that

mbled entirely from casts of human ears molded during a workshop of local Cancun students aged 8-12. sculpture located within the National Marine Park of

Cancun is fitted with a revolutionary NOAA-designed

ophone, which is continually recording sounds from the

environment and storing the data to an internal water resistant Hard drive.

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Although the marine environment is often referred to as the silent world it is actually reverberating with a myriad of noises from, crustaceans clicking, fish feeding, waves breaking to boats passing overhead. Sound also travels approximately four times faster in water than in air. This experimental method of non-invasive Passive Acoustic Monitoring (PAM) aims to try to understand some of complex sound activities that are taking place underwater and see if this data can in turn be used for conservation and research. 20


By constructing the figurative form using casts of ears from a younger generation it is hoped that it will symbolize a different relationship with nature and engage students in reef conservation. Changing one’s interaction to a more passive experience and draw focus to the much-needed ability to listen

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The Silent Evolution - 50 new figurative pieces have now been completed and are ready to join the existing 400 sculptures of the The Silent Evolution on the Manchones reef system, in between Cancun and Isla Mujeres. All of Taylor’s work sites are located in clear shallow waters to afford easy viewing by divers, snorkelers and those in glass-bottomed boats. “Taking art off of the white walls of a gallery offers the viewer a sense of discovery 22


The Silent Evolution and a sense of participation.� The experience of being underwater is vastly different from that of being on land. There are physical and optical considerations that must be taken into account. Objects appear twenty five percent larger underwater, and as a consequence they also appear closer. Colours alter as light is absorbed and reflected at different rates, with the depth of the water affecting this further. The light source in water is from the surface, this produces kaleidoscopic effects

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governed by water movement, currents and turbulence. Water is a malleable medium in which to travel, enabling the viewer to become active in their engagement with the work. The large number of angles and perspectives from which the sculptures can be viewed increase dramatically the unique experience of encountering the works.

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Phoenix Constructed from high  strength  pH-neutral  cement  and incorporating  tensile  stainless steel  anchoring  points,  the Phoenix  is  first  kinetic  sculpture  in  the  MUSA  collection. Based  on  a  female  form  her  wings  are propagated  with living  purple  gorgonian  fan  coral  ( Gorgonia  ventalina) which  continuously  

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Phoenix

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ing n

al wh lodged

cue nearby the prevailin pear  to  be 28


moves back  and  forth underwater  filternutrients   from the sea water. The fan  cor-

hich is often  naturally   uprooted  and  dis from  strong storms  and  waves  was    res-

ed and  replanted  from fragments found  on   sand  areas. The sculpture is orientated into ng current and the wings of the Phoenix  apeat  with  the  natural  cycle  of  the waves. 29


The Last Supper depicts a dining table carved from a rock outcropping. It is laid with plates and cutlery and features a large bowl filled with fruit and hand grenades as its centre piece. A half eaten fish supper rests on both of its plates. Following on from the Time Bomb series the work aims to illustrate the serious problem the world’s oceans are 30


The Last Supper facing due to overfishing. The UN has claimed that three quarters of the worlds fisheries are severely over stressed and if nothing is done to reverse the trend we could see a worldwide collapse in 50 years with several species facing extinction. The Last Supper hopes to draw attention to this critical yet often overlooked issue. 31


University of North Carolina 32

Working in pa University of Ha


artnership with: awaii Universidad del Caribe Proyecto Domino 33


The Environment

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Over the past few decades we have lost over 40% of our natural coral reefs and scientists predict a demise of 80% by 2050. Only about 10 – 15% of the seabed has a solid enough substratum to allow reefs to form natrally. In order to increase the number of reefs in these areas, artificial reefs have recently been cre35


ated from materials that are durable, secure These artificial reefs attract corals, sponges and aggregate fish species which in turn, can ever one of the greatest benefits of have relieved the pressure on been over-fished, overnatural events. By diartificial reefs, natural chance to repair and lor works also aims t o era for tourism,on environmental awarethat the millions of gin to reconceptuthey haunt as more of heaven but living and 36


and environmentally sensitive. s, hydroids, increase overall reef biomass support an entire marine ecosystem. Howartificial reefs is that they natural reefs which have visited and damaged by verting attention to reefs have a greater regenerate. Tayusher in a new of culture and ness, in hope tourists may bealise the beaches than sunny slices breathing ecosystems. 37


Urban Reef is a collection of architectural ants of the reef system. A series of conte underwater to create a street or suburban c and spcifically designed to support a part designated for lobsters and crustaceans flat horizontal planes to mimic natural areas, another with try points for juvenile cies to escape predaand tubular sections for eel varieties. Surfaces and walls textures will be tailored for corals and hydroids to inhabit. 38


structures designed for individual inhabitemporary urban dwellings will be assembled complex. The units are divided into rooms ticular species, for example one room is and is constructed in their preferred small enspetors

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The registrar has catagorised the bottles shown in the sculpture as each bottle contains it’s own message of fear, hope, loss or belonging. The sculpture provides a haven for sealife to breed and inhabit. 40


Urban Reef

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Undersea Museum, Cacum Mexico Issue 49 Dec 2012  

Jason Taylor,Undersea Museum, Cacum Mexico Issue 49 Dec 2012

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