Emissions & Remissions II at the Bob Rauschenberg Gallery
Emissions & Remissions at (JEMA) The John Erickson Museum of Art
Icebox Gallery, Tacoma, 2006
Throughout the 20th-21st century there is increasing evidence of humans altering the earth’s climate and environment through changing agricultural and industrial practices. Climate changes do occur naturally, however, prior to the Industrial Revolution, very few gases were released into the atmosphere due to human activities. The growth in population, the incessant burning of fossil fuels, the production and transport of coal, natural gas and oil, the decomposition of organic wastes in landfills, along with deforestation, and the raising of livestock are seriously increasing the mixture of gases which absorb and trap heat in the atmosphere. As the earth’s temperature increases, contributing greenhouse gas emissions are predicted to have a long-lasting, negative impact on the environment, drastically changing life on earth.
My installation work inherently represents things in flux and incorporates string or thread as a material that is expressive, changeable, and adaptable. The work mimics the incessant human activities that leave lasting marks on the environment. However, rather than simply emitting water vapor, carbon dioxide, methane, nitrous oxide, ozone, HFCs, PFCs, and SF6, released are fleeting images of gradual effect and change, imagining the ways unchecked greenhouse gases might create a devastating irreversible condition for the environment, drastically changing and in many cases destroying life on earth.
For more information and images of my project, exhibited and performed at Ice Box Gallery, Tacoma in 2006, or about JEMA The John Erickson Museum of Art by Sean Miller please visit: http://www.jema.us/pages/taylor_pages/taylor_state.html
A collaborative installation by members of the SOIL Artist Collective, Seattle, WA and other invited NW artists.
This interactive installation/corner store was both a celebration and critique of consumer culture, and was juried into both the Seattle Arts Edge and Bumbershoot Art Festivals, 1998. The installation was reviewed in numerous local newspapers in addition to a review in the “New Art Examiner”.