I’m so very excited to be diving into a new series. It feels like a really nice way to start a new year and also to shift gears after ending my residency. Please don’t worry: the climate change series lives on! I’ll keep adding to it indefinitely—there’s certainly more than enough material to keep me going for…ever—but this generalist Jill-of-all-trades is feeling the need to branch out a bit and tackle some other, albeit related, issues.
And so, it gives me great pleasure to introduce you to my new series, “By Our Own Hands,” a series that will explore the Anthropocene from all its terrifying angles.
What is the Anthropocene? In short, it’s the new geological age we find ourselves in and we only have ourselves to blame for this new era. Yep, humans have exerted so much influence on the climate and the environment that our impact is the defining feature of this new era. And no, this isn’t a “yay us, look what we’ve accomplished” sort of thing. More like an “oh shit, look what we’ve destroyed” sort of thing. As R put it: it’s an “epoch-alypse.” Ha! Clever girl.
Now of course there’s scientific debate over exactly where the Anthropocene starts and the Holocene ends, debate over what marker denotes that official shift. (The frontrunner is 1945-ish, with radioactive elements from nuclear bomb detonations being the identifier.) But it’s really just a matter of time before scientists come to an agreement and make it officially official.
There are lots of hallmarks of this new geological age, and I’ll be drawing inspiration from many of them over the course of this series. For the first mosaic in the series, however, I decided to tackle one key characteristic of the Anthropocene: the mind-blowing scale at which we produce concrete, plastic, and aluminum, all three of which are now firmly rooted in the geological record. Centuries and millennia from now, anthropologists and geologists (if humans are still around) will find a layer of these materials—and many other things, collectively known as technofossils—as they dig into the earth. This is our legacy. And some legacy it is. Consider these sobering facts:
- We have produced about 500 million tonnes of aluminum since the 19th century.
- We have produced about 50 billion tonnes of concrete and more than half of this was in the last 20 years. That’s enough concrete to spread a kilogram of the stuff on every square metre of the planet.
- We now produce about 500 million tonnes of plastic a year.
The mosaic is divided (roughly) into thirds. The bottom is just plain rock, a nod to geological eras gone by. The middle is moving closer to the present day, with hints of human influence showing up with the inclusion of small ribbons of plastic, layers of ceramic, and, perhaps the most dominant feature of this layer: seams of coal and red dog, the latter being a by-product of coal extraction (for extra credit, read Rachel Sager’s blog about red dog, which is actually a really spectacular material to work with). Together they speak to transformation and the impending transition.
Then there’s the big disruption: a chaotic jumble of concrete, plastic, and metal (I exercised my artistic license and didn’t restrict myself to aluminum here). And after that, a field of mortar (drawing that link to concrete) and plastic. The careful viewer will note that, while the colours and materials themselves are arranged into horizontal layers, the lines of the mosaic—those rows of piece after piece after piece—actually run vertically. This is by design, to give the tangle of that unholy trinity something more to disrupt.
The plastic details are some of my favourites. I didn’t really know what to expect when I started cutting up the plastic utensils, or even as I started incorporating them. But as I placed more and more of them into the mosaic, it became increasingly obvious that they looked almost like some sort of hierogyph. I love this. I like to think of it as a sort of message to the future. I’m not sure what it says… “Sorry we screwed everything up”? Probably not. It’s likely something more along the lines of “MORE EVERYTHING!”
The title, “We were here now,” is partly inspired by those plastic messages to the future; it’s a reference to our inescapable need to leave our mark, to say we were there, to satisfy our ego. Think scratched initials in a bathroom stall or on camp bunk beds or in the bark of trees, but on a much larger scale. This new geological layer proclaims just that: We were here. The past tense is intentional. Not we are here. Were. Continue down the path we’re on and we, as a collective, are not long for this world. The “now” is meant to disrupt, to make you pause over the disconnect between “now” and the use of the past tense, and, ultimately, convey how quickly everything is changing and how we can lose it all in the blink of an eye (geologically speaking).
I look forward to sharing many more cheery, uplifting facts and thoughts about the Anthropocene with you, so stay tuned! And now, I need a drink. Anyone else?