“There are many ways to tell a story or document and share research and discoveries,” says artist Ellie Hannon, one of 54 artists who have embarked on a unique residency organized by the Schmidt Ocean Institute (previously). From cast porcelain and painting to 3D printing and virtual reality, the storytelling possibilities are endless in the Artist-at-Sea program, which invites artists to collaborate with scientists on weeklong expeditions to some of the least explored areas of our world. oceans.
The residency, conceived by the organization’s co-founder and president Wendy Schmidt, and launched in 2015, was fueled by suggestions from some of the crew aboard the first ship, Falkor-named after the beloved lucky dragon in The never ending story. “The idea behind the program was to provide artists with the opportunity to experience the scientific process at sea and experience new ocean ecosystems first-hand,” says Dr. Carlie Wiener, director of communications at the institute.
On board the research vessel Falkor (also)On each expedition, one artist is assigned a berth – an assigned space – where he explores a wide range of biological and geological phenomena. From volcanic activity to coral reefs and interactions with glaciers, researchers often document new species, map uncharted territory and explore the implications of the climate crisis seen in the retreating ice caps and rising sea levels.
Designers Shan Hua And Pei Win Jin took part in a six-day trip in August 2023 dedicated to studying the dynamics of sinking microplastics. The residency was an opportunity to experiment with new technology, while observing tests being conducted and learning about the physical characteristics of the ocean. Hua says, “It was my first time working with scientists, and it was incredibly memorable to observe their sampling processes over an extended period of time.”
For her work on Falkor (also), Hua was deeply moved by the reality of massive amounts of plastic in our oceans and the material’s ability to last incredibly long without breaking down, unlike organic material. It can take hundreds of years for a single-use plastic bottle to decompose. But in the ocean, the most worrisome culprits are the tiny particles that can starve and suffocate marine life, while also potentially hindering the ocean’s ability to act as a carbon sink.
“Something as simple as washing synthetic fabrics can introduce microplastic fibers into the environment,” said a statement about last August’s expedition. Hua further investigated the lifespan of microplastics and its effects on life, and landed on the topic of marine fossils. She worked with a built-in 3D printer and VR technology to create what she calls “future fossils”: relics that predict what could happen if we don’t act now to prevent further pollution.
For the artists on board Falkor (also), working with scientists fosters a deeper appreciation for the vast size of our oceans and the life they contain. Based in Costa Rica Carlos Hillerwho specializes in painting underwater landscapes, was continually impressed by the sights and discoveries during the nearly three-week ‘Octopus Odyssey’ expedition around the west coast of his home island.
“I became an invisible witness to the encounter between technology – our underwater eyes – and organisms or landscapes that had never seen the light before.”
Carlos Hiller
Hiller expected that he would have long periods of time to paint, and he imagined that the remotely operated vehicle (ROV) scanning the seabed would be slow and monotonous. But there was never a dull moment: “Every few meters on the sedimentary bottom a new creature appeared, and the rock formations revealed underwater landscapes that evoked vivid descriptions of 20,000 Leagues Under the Sea,” he says.
The human relationship with the sea struck a chord with Hiller, who was intrigued by parallel but divergent experiences. “I was fascinated by imaginary positioning myself at a certain distance from the ROV to observe the scene from two angles: that of the observed and that of the observer,” he says. “I became an invisible witness to the encounter between technology – our underwater eyes – and organisms or landscapes that had never seen the light before.”
Hiller created 13 paintings aboard the ship, and the experience inspired a new series of paintings, murals and small, mobile sculptures inspired by the deep environment. “We often imagine the sea as a vast, undulating surface, an infinite mirror,” he says. “We venture only a few feet underwater, and beyond that in our minds there is only darkness, emptiness and mystery.” He is excited as he understands so much more.
Hannon also took advantage of the ROV’s capabilities during a 2021 residency focused on paintings and a cast porcelain installation. She worked with researcher Ian Parnum and ROV technician Jason Rodriguez as the team explored the Ashmore Reef Marine Park, a sanctuary for birds, turtles and many other marine species off the northwest coast of Australia.
Using digital imaging (and the ROV’s robotic arms) to capture the visual characteristics of a marine sponge, Hannon was able to digitally stitch together a 3D image, which was then printed in a slipcast mold. The process has revived an aspect of her practice that she had previously put aside. She also created a series of five vibrant paintings illustrating a wide range of creatures that inhabit the reef.
“One of the most surprising things to come out of the program is not only how science has influenced the artist, but also how art has influenced science.”
Dr. Carlie Wiener
Impressed by the clarity of the ROV footage and the work of the operators, Hannon disembarked with a lasting impression of inventiveness and creativity displayed by the entire team. “One moment that stood out to me in this regard was when a part of the ROV broke, the team used the 3D printer to replicate this part, as they noted: You can’t just run to the tool shop when you’ve driven 400 kilometers of country.”
Interacting with researchers from around the world offers artists the opportunity to reimagine scientific research as a range of art forms and share discoveries and technologies through an accessible medium. The Schmidt Ocean Institute will then add one piece from each artist to its collection and exhibit the work worldwide in an ongoing effort to increase knowledge of the marine world.
“One of the most surprising things to come out of the program is not only how science has influenced the artist, but also how art has influenced science,” says Dr. Wiener. “Many of our Artist-at-Sea participants have built long-term relationships with scientists who come on board and continue to collaborate on projects after their residency.”
Another recent expedition invited Max Hooper Schneider aboard, and Jill Pelto is working on the current voyage off the coast of Chile, which ends on September 23. Learn more about the Artist-at-Sea program and dive deep into each expedition at the Schmidt Ocean Institute’s website.
