The Universe and nature are such vast and complicated concepts, but that has not stopped creative people from scrutinizing them through works of art. Visualizing the cosmos and our own Earthly phenomena has been a hotbed for artistic thinking and learning since the earliest forms of human expression. From making representational associations of celestial bodies (constellations) to designing sustainable interactive environments (Eco-art, land art, etc); art has been a key element to the exploration and understanding of our natural and metaphysical world. Through a combination of imagination, resourcefulness, experimentation and technology, massive and mystifying issues like cosmology and the Anthropocene are contextualized into a tangible visions that have potential to impact viewers on a social and emotional level.
Stars Down to Earth is a two-person exhibition at the Brooklyn Library (in partnership with the Prospect Park Alliance and More Art), featuring work by Mary Mattingly and Dario Robleto. Both artists visually scrutinize scientific issues, and pose essential questions around events simultaneously happening light-years away and in our own backyards. In their respective art practices, Mattingly and Robleto adapt theories, knowledge and traditions from a spectrum of disciplines and apply them to their work in a manner that transforms abstract thoughts and occurrences into empirical methodologies. Stars Down to Earth and future iterations of this Eco-based exhibition, include experiential STEAM learning through interactive works of art, artist talks and workshops focused on the integration of art and science.
Robleto’s sculptures are carefully researched cabinets of curiosity, which artfully re-frame objects and events from the past into a futuristic vision of mortality and human nature. He achieves this by creating hybrid forms out of unlikely combinations of artifacts and experiences. One of his early works of art is titled You Make My World a Better Place to Find (1996-1998). From a glance, it resembles a spool of thread, but overall, the work is indicative of a performative sculpture that literally threads a spectrum of human beings together. The artwork was created by discreetly acquiring pieces of lint and other small strand-like materials from friends and strangers. Upon collecting these materials, Robleto fashioned them together into one long string, which he spooled. With the newfound material, he tailored and sewed things like loose buttons and ripped clothing back together. From a symbolic standpoint, it suggests that fixing our broken world lies within the collective engagement of finding restorative ways to be united. As a species, we have the ability to mend overarching issues if we combine individual forces and discover the power in supporting each other’s diverse qualities and experiences.
Robleto is currently collaborating with scientists as an artistic consultant to a project called “Breakthrough Message,” a multi-national endeavor that seeks to determine how and what humans should communicate to extraterrestrial beings. Perhaps two of his archival prints Untitled (Shadows Evade the Sun I) and Untitled (Shadows Evade the Sun II) would be apt. The prints are inspired by the ethereal elements of 1960s and 70s arena performances. Robleto culminated photographs taken by fans at Johnny Cash, Sam Cooke, The Doors, Ella Fitzgerald, Dizzy Gillespie, Lena Horne, Janis Joplin, Charlie Parker and Elvis Presley concerts; and arranged them so that they represent gradient beams of light, akin to atmospheric and celestial glows. The imagery would be at once recognizable to all beings who shared the same night sky. However, our musical subcultures might be less familiar to an intelligent being from beyond Earth. It could be a nice and poetic way to explain to an alien life form how the creation and immersion of art illuminates our cultural realms.
Mattingly’s artistic focus is rooted in ecological development and issues of sustainability on our planet. She creates works of art that illuminate the growing climate crisis, as well as the unsustainable use of organic materials and natural resources for economic and political purposes. Her magnum opus is Swale, an ongoing floating ‘food forest,’ which provides sustainable and healthy nutrition, and raises consciousness about building self-sufficient food communities within urban environments. Additionally, she has created and/or co-created sustainable public habitats, such as the Foodway in Concrete Plant Park, and the Waterpod Project.
Another project by Mattingly, is an inquiry into the reaping of cobalt, a natural Earth material that is used to make highly profitable products. There is both a creative and destructive impetus for mining cobalt, as evident from its extensive uses, including powering energy turbines and making paint and weaponry. Cobalt-based blue pigments are well known and valuable to artists, while cobalt ore is beneficial to expanding the military industrial complex. The harvesting of massive amounts of cobalt involves extraction practices that are contributing to climate change and displacement. Mattingly’s material-based explorations, discoveries and insights into Cobalt (2016), reveal stark contrasts involving our reliance on natural resources. Artifacts from Cobalt and her aerial landscape photographs depicting extractive industries, are on display at the Brooklyn Library. Also on view is Mattingly’s A Technological Abyss (2020), a spherical living sculpture that displays and nurtures plants that were growing over 50 million years ago (during the Eocene Epoch) in the region that is now New York. The Eocene was a period of warm oceans and balmy, humid temperatures throughout the globe (the world was practically ice-less from pole-to-pole). The sculpture also holds plants that would survive in New York, if the current rate of expedited global warming continues. Both sets of plants are of the tropical tolerant variety. The parallel between the volatile climate of the Eocene (which led to an extinction event) and the Anthropocene, reinforces the idea that we are heading into a very dire moment in our Earth’s history.
After its display at the library, Mattingly’s living sculpture is going to be installed in nearby Prospect Park (April – June, 2020). While on view in the park, the sculpture will be a setting for additional experiential art programing focusing on issues of clean water. Produced by More Art and in collaboration with local community groups, Public Water is a multisite public art and educational project addressing the ways citizens of New York are connected through complex watersheds that provide drinkable/functional water to upstate and downstate residents. These projects are intended to prompt us to enact ecological ways of learning, making and being, in order to improve our contemporary commons so that facets of biological life that are currently threatened stand a chance of survival.
Mattingly is intrigued by the idea of the commons, which are resources that are accessible to the collective society and are not owned by one single entity (i.e. water, air and soil). Commons are generally maintained by a community of benefactors who develop institutions and systems that have value and offer benefits for multiple users. Swale, Foodway and the Waterpod Project are good examples of commons, because they make healthy soil, clean water and organic food available to the public; and also provide equitable access to an ecological-centered education, so that groups and individuals (of all ages and backgrounds) can utilize common natural resources in a sustainable and ethical manner. A Technological Abyss and Public Water is also based on the idea of the commons. The sculpture is currently located in front of the Info Commons at the Brooklyn Library, which hosts free space and opportunities for the public to access an array of multimedia and professional services. When Public Water arrives at Prospect Park, it will reinforce and build upon (the parks architect) Frederick Law Olmsted’s socially engaged vision of making natural resources and communal recreational space abundant to urban populations. Throughout the course of the project, visitors will participate in dialogues that reflect their personal narratives related to ecological commons and raising concerns about the quality of water and preservation of common waterways. In tandem with artists, educators and environmental advocates, the public will discover innovative ways to collectively build awareness around environmental justice.
As we have begun to see from the aforementioned examples, Mattingly and Robleto’s art reveals how art, science and engineering can successfully interrelate with one another. Each artist’s work poses essential questions such as: how can the artistic practice transform and evolve through working outside of the art field? How can art be harnessed to change the way science is performed?
Developing lifelong inquiries and ethical innovations is a major objective of combining the arts, science and technology into an insightful and participatory-based educational framework (STEAM). The arts give us the permission and tools to think boldly and manipulate materials in a manner that adds an emotional and unique human element to the scientific method. Echoing a quote by astronomer Carl Sagan (from his publication Cosmos: A Personal Voyage, 1980), “imagination will often carry us to worlds that never were. But without it we go nowhere,” Mattingly and Robleto have employed their artistic skills to contribute to disciplines such as ecology and astronomy, with actual scientific results to show for it.