My art uses plastic recovered from beaches around the world to understand how our consumer society is transforming the ocean

‘Bounty Pilfered’ (center), ‘Newer Laocoön’ (left) and ‘Threnody’ (right). All made of ocean plastic from the Atlantic, Pacific and Gulf of Mexico, installed at the Baker Museum in Naples, Fla., 2022. Pam Longobardi, CC BY-ND^[2]

I returned to that site again and again, gathering material evidence to study its volume and how it had been deposited, trying to understand the immensity it represented. In 2006, I formed the Drifters Project^[3], a collaborative global entity to highlight these vagrant, translocational plastics and recruit others to investigate and mitigate ocean plastics’ impact.

My new book, “Ocean Gleaning^[4],” tracks 17 years of my art and research^[5] around the world through the Drifters Project. It reveals specimens of striking artifacts harvested from the sea – objects that once were utilitarian, but have been changed by their oceanic voyages and come back as messages from the ocean.

‘Drifters Objects,’ a tiny sample of the plastic artifacts Pam Longobardi has collected from beaches worldwide. Pam Longobardi, CC BY-ND^[6]

Living in a plastic age

I grew up in what some now deem the age of plastic^[7]. Though it’s not the only modern material invention, plastic has had the most unforeseen consequences.

My father was a biochemist at the chemical company Union Carbide^[8] when I was a child in New Jersey. He played golf with an actor who portrayed “The Man from Glad^[9],” a Get Smart-styled agent who rescued flustered housewives in TV commercials from inferior brands of plastic wrap that snarled and tangled. My father brought home souvenir pins of Union Carbide’s hexagonal logo, based on the carbon molecule, and figurine pencil holders of “TERGIE^[10],” the company’s blobby turquoise mascot.

On the 2013 Gyre Expedition, Pam Longobardi traveled with a team of scientists, artists and policymakers to investigate and remove tons of oceanic plastic washing out of great gyres, or currents, in the Pacific Ocean, and make art from it.

Today I see plastic as a zombie material that haunts the ocean. It is made from petroleum, the decayed and transformed life forms of the past. Drifting at sea, it “lives” again as it gathers a biological slime of algae and protozoans, which become attachment sites for larger organisms.

When seabirds^[11], fish^[12] and sea turtles^[13] mistake this living encrustation for food and eat it, plastic and all, the chemical load lives on in their digestive tracts^[14]. Their body tissues absorb chemicals from the plastic^[15], which remain undigested in their stomachs, often ultimately killing them^[16].

Plastic ‘nurdles,’ (left), tiny pellets that serve as raw materials for manufacturing plastic products, and herring roe, or eggs (right). These visually analogous forms exemplify how fish can mistake plastic for food. Pam Longobardi, CC BY-ND^[17]

The forensics of plastic

I see plastic objects as the cultural archaeology of our time – relics of global late-capitalist consumer society^[18] that mirror our desires, wishes, hubris and ingenuity. They become transformed as they leave the quotidian world and collide with nature. By regurgitating them ashore or jamming them into sea caves, the ocean is communicating with us through materials of our own making. Some seem eerily familiar; others are totally alien.

A degraded plastic doll arm, from the series ‘Evidence of Crimes.’ Pam Longobardi, CC BY-ND^[19]

A person engaging in ocean gleaning acts as a detective and a beacon, hunting for the forensics of this crime against the natural world and shining the light of interrogation on it. By searching for ocean plastic in a state of open receptiveness, a gleaner like me can find symbols of pop culture, religion, war, humor, irony and sorrow.

‘Division Line,’ 2016. This photograph shows the ‘life-jacket cemetary’ in Lesvos, Greece. Traumatized asylum-seekers and migrants arriving by boat from Türkiye leave the life vests on shore as they stagger inland. Most of the waste is plastic. © Pam Longobardi, CC BY-ND^[20]

In keeping with the drifting journeys of these material artifacts, I prefer using them in a transitive form as installations. All of these works can be dismantled and reconfigured, although plastic materials are nearly impossible to recycle. I display some objects as specimens on steel pins, and wire others together to form large-scale sculptures.

From the series ‘Prophetic Objects,’ a plastic cap from a Greek manufacturer of cleaning products, found on the Greek island of Kefalonia. Pam Longobardi, CC BY-ND^[21]

I am interested in ocean plastic in particular because of what it reveals about us as humans in a global culture, and about the ocean as a cultural space and a giant dynamic engine of life and change. Because ocean plastic visibly shows nature’s attempts to reabsorb and regurgitate it, it has profound stories to tell.

‘Albatross’ and ‘Hope Floats,’ 2017. Recovered ocean plastic, survival rescue blankets, life vest straps and steel. Pam Longobardi, CC BY-ND^[22]

I believe humankind is at a crossroads with regards to the future. The ocean is asking us to pay attention. Paying attention is an act of giving, and in the case of plastic pollution, it is also an act of taking: Taking plastic out of your daily life. Taking plastic out of the environment. And taking, and spreading, the message that the ocean is laying out before our eyes.

Authors: Pam Longobardi, Regents' Professor of Art and Design, Georgia State University

Read more https://theconversation.com/my-art-uses-plastic-recovered-from-beaches-around-the-world-to-understand-how-our-consumer-society-is-transforming-the-ocean-187970

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