I love making every assignment about the environment when possible, and this assignment felt like the perfect opportunity to do that but flip what I usually talk about.
The concept for this image is similar in kind to the "photo" of the loch ness monster... I wanted to play into the constantly recurring story of the returned megalodon. Usually this pseudoscience idea is kept in its realm, but sometimes it gets treated as actual science (despite definitive proof that megalodons are long extinct) like in a Shark Week special several years ago where scientists were searching for a living megalodon. With that absurdity in mind, I feel a sort of frustration towards people who would rather dedicate time, energy, and resources to find a supposed living megalodon when an innumerous amount of definitively living -but struggling and/or dying!- species need the general publics attention so much more. I hope that the juxtaposition of the work title and final image are able to spark thought on why this is, or even just bring the viewer to realize that this disconnect exists.
The photo of the beach and figure are both my own, the boat is a CC image licensed for modifications from flicker, as is the shark fin.
In this thought-provoking piece titled "The Things We Care About," artist Zoe Turner invites viewers into a contemplative scene. The composition unfolds with the lower two-thirds dominated by the rhythmic crashing of waves onto the receding waterline, creating a dynamic spectacle. A solitary boat maneuvers toward the left side of the composition, and in the foreground, a figure stands, back turned, observing a distant shark fin, likely belonging to a megalodon. The upper third of the composition is shrouded in a hazy, darkening sky, framed delicately by a vignette.
ReplyDeleteUpon first glance, a narrative emerges, suggesting a world where the megalodon has defied extinction, and the observer, far from panicking, stands calmly on the shore. The figure's relaxed posture suggests a tranquil acceptance of a living relic from the past. However, this interpretation gains depth after delving into the abstract, revealing the interplay between the artwork's content and its title. Unbeknownst to the observer, an active search for the megalodon was undertaken in the past, adding complexity to the scene. The initial calm now transforms into a nuanced expression, carrying elements of frustration, rage, and perhaps disappointment. The observer, frozen in silent contemplation, witnesses an extraordinary event while the oblivious world remains unaware of the marvel passing by. The atmospheric haze in the sky, coupled with the vignette, subtly enhances the portrayal of a disconnect between the observer and the rest of the world.
"The Things We Care About" achieves a photorealistic quality, lending credibility to its visual narrative despite the surreal nature of a megalodon's fin gracing the ocean's horizon. While the composition's simplicity and asymmetry contribute to its aesthetic appeal, there exists a delicate imbalance. The vast darkness of the waves dominates the visual field, diverting attention from the foreground figure and the swiftly moving boat, almost obscuring them in the artistic interplay. Introducing more witnesses to this event might amplify its impact, yet the deliberate choice of a lone observer serves a greater purpose, emphasizing the commentary on societal priorities.
Fundamentally, this piece serves as a commentary on societal values, prompting viewers to reflect on collective fixation on "the things we care about" while overlooking matters of greater consequence. The implied costs invested in the search for an active megalodon draw attention to the potential diversion of resources towards more significant and beneficial endeavors, particularly concerning environmental concerns. Zoe Turner's work encourages contemplation of our priorities, urging a reconsideration of perspectives and a redirection of efforts toward endeavors that hold lasting importance for the future.