Tidalectics: A Marine Biology Print Portfolio

Portfolio of 11 original prints and essays, 48 x 33 cm, 2020

Leaf through the portfolio to view the content and information on the contributors.

The Tidalectics Portfolio showcases an interplay between printmaking and marine biology, by presenting the visual response of the artist to the research of the scientist. It follows both the historical tradition of graphically depicting the natural history of the ocean and the contemporary story of pressures on marine environments. Eleven international printmakers have been invited and were paired with marine biologists in 2019, to create a print based on their research. The biologist wrote an accompanying essay. The portfolio follows the historical tradition of depicting the natural history of the ocean and a contemporary focus on the environmental challenges the marine environment faces today. 

The research unravels the environmental mechanisms at play and consequences for certain organisms such as coral and algae. There is focus on species such as sponges and manatees, on ocean winds and currents. Human ingenuity has harnessed bacterial filtering in traditional salt harvesting. Humans can now also propagate baby corals. We keep discovering hidden patterns in the sea and learn more about the influential role of life forms such as bacteriophages in the state of microbialised seas. In the age of the Anthropocene, the ontology of the ocean as an endless amorphous reservoir has changed towards seeing it as an entity, subjected to the effects of human actions. One of these ontological oceanic imaginaries is tidalectics. To Barbadian poet Kamau Brathwaite the ocean signifies a “tidal dialectic”, rooted in rhythms expressing anti-colonial sentiments. It draws on the rhythmic fluidity and cyclic movements of water. The concept of tidalectics has been adopted by curator Stefanie Hessler as a starting point to formulate an oceanic worldview, that engages differently with the ocean. “The fluidity and ripples allowing us to think of hybridity, cross-cultural syncretism, incompleteness, and fragmentation.” It envisions a dynamic merging and moving between the arts, sciences, history and environmental studies.

Rene Arceo, Caribbean Sponges, Woodcut & linocut (2020)
Pepe Coronado, Abuso coral, Screenprint (2019)
Umberto Giovaninni, Salt pan, Colour woodcut (2020)
Tracy Hill, Mechanisms of Resilience, Screenprint with Thermochromic ink (2020)
Jill Ho-You, Dissipation, Etching and spitbite (2020)
Eveline Kolijn, Coral Phages: Guardians of the Host or Mediators of Infection?,
Photopolymer and zinc intaglio,(2020). More information here
Poli Marichal, Manatí (Trichechus manatus manatus), Mixed media print (2019)
Miriam Rudolph, Eutrophication, Intaglio & Digital print (2019)
Natasha Russell, Take Off, landing, Linocut (2020)
Melissa Smith, Caught in the Moonlight, Etching (2020)
Koichi Yamamoto, Rotation-Circulation, Intaglio (2020)


Participating printmakers  – biologists:
 
Rene Arceo – Dr. Jasper de Goeij
Pepe Coronado – Maria Villalpando
Umberto Giovannini – Dr. Amanda Spivak
Tracy Hill – Dr. Stuart Sandin
Jill Ho-You – Dr. Iliana Baums
Eveline Kolijn – Dr. Forest Rohwer
Poli Marichal – Dr. Antonio Mignucci
Miriam Rudolph – Dr. Brian Lapointe
Natasha Russell – Dr. Mark Vermeij
Melissa Smith – Dr. Valerie Chamberland
Koichi Yamamoto – Dr. Gregory Folz

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