I have been researching the nuclear waste industry and nuclear science for the past year, under the premise that it is the most recent iteration of alchemic traditions and practices.
Early this year, I was sponsored by Cumbria University in the UK to begin a research project examining the nuclear waste industry of the region. The ultimate goal being that I would formulate a body of work that would address this industry. One of the key overlaps between my time in Northern England and the nuclear waste reprocessing facilities was their relationship to time and the land.
The material culture within the English landscape is stunning--one can find shells from recent world wars, pottery from the early 19th century, and neolithic flint waste all within the same field. Stone henges and circles such as Castlerigg, Long Meg, and King Arthur's Round Table became fascinating intersections of history, human ingenuity, and mysticism--the function of these sites is little known.
Intertwined with this investigation is the unique condition that long-term planning for nuclear waste storage faces--how do you convey over 50,000-100,000 years that there is volatile material buried below? The oldest extant human structures are only 10,000 years old--the knowledge of these cultures and their motives based on theory and conjecture. Designers and engineers are faced with the task of creating architecture that can withstand not only the test of time physically, but operate as a sign for a future culture that may have little to no resemblance to our own.
These drawings are an attempt to illustrate how the land can gain and lose "value" by these processes of burial. Source images come from schematics of nuclear waste containers and mummified remains found in Scandinavia and England, often the result of human sacrifice.
5 comments:
I really like these, the stippling seems appropriate. They kind of look like diagrams, or even instructions, like the image you might see in a manual where the device has been disassembled so as to see the individual parts in relation to how they ultimately come together. I like where the body parts become confused with the containment parts. Its interesting that you talk about the value of land, and yet the images are completely devoid of any reference to that. I suppose it could be assumed that the empty space is "underground," and I actually like the composition quite a lot. Im not sure though if Id pick much up about this context of land value from the images without the info provided.
I also feel like any one of these images (are there more?) could also be really great sculpturally, like if you were to incorporate your Bryan mummy into one of these situations you've illustrated, somehow alluding to the idea of burial.
Glad to hear the feedback...
The plan is to organize a show in the UK @ Cumbria University of drawings that would relate to the research I have already begun.
Ultimately, I'd like make 10 or so drawings related to the themes already posted, but they take forever to execute. Wanted to know if it was worth the time to invest in the series...landscape/burial architecture will be incorporated in later drawings.
hey Bryan,
side note... my good friend works at the palo verde nuclear power plant that's outside of Phoenix. He is a material science engineer. I was just talking with him about the place because I was curious with what just happened in Japan and what the atmosphere was like over there. He told me that the public is not allowed inside the buildings but he can take people around the outside of the facilities. If your ever in Phoenix, I'm sure he would gladly take you around and could provide you with a bunch of information. I could also give you his email if your interested in emailing him with questions, etc.
Matt--Yes! Could you forward his contact info to me?
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