Reflection
Roger Hiorns' work, particularly Seizure, presents a striking meditation on our relationship with materials and the environment, which aligns well with the themes of the Anthropocene explored in our course. Hiorns’ hands-off approach, where he allows copper sulfate crystals to grow and evolve independently, challenges the traditional role of the artist. This process of material autonomy reflects broader questions about human intervention and the natural world. In Seizure, Hiorns transforms an ordinary, decaying council flat into a stunning, crystal-coated space, demonstrating the power of nature to reshape the environment in ways both beautiful and dangerous. The crystals, though mesmerizing, are toxic, emphasizing the duality of nature as both awe-inspiring and perilous. This mirrors our complex relationship with the environment, where we admire its beauty, but also fear its potential to harm.
Incorporating the ideas from Linda Weintraub’s What’s Next? Eco Materialism and Contemporary Art, Hiorns’ work speaks to the growing movement of Eco-Materialism. This approach encourages a deeper understanding of materiality and its connections to ecological and environmental concerns. Weintraub’s exploration of new materialism, which asks us to reconnect with the physicality of the planet and acknowledge our dependency on it, finds resonance in Hiorns’ work. Just as Weintraub discusses the role of artists in using material as a way to challenge environmental neglect and encourage responsible stewardship, Hiorns creates art that doesn’t just represent the world but engages directly with it. His process of letting materials grow and shape themselves underscores a philosophy that values the autonomy of nature and promotes a more collaborative relationship with it.
Hiorns’ Seizure also brings to light the idea of "upcycling," a concept discussed by Janez Strehovec in The Upcycling and Reappropriation – On Art-Specific Circular Economy in the Age of Climate Change. By transforming an abandoned flat into an artwork, Hiorns gives new life to a forgotten space, allowing it to evolve into something extraordinary.
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However, the in-class following discussion made me think more critically about Hiorns' work.
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While his work embodies the spirit of Eco-Materialism in its engagement with the earth, the use of copper sulfate—a toxic, non-renewable substance—appears to contradict the values of sustainability. The circular economy emphasizes repurposing materials to reduce waste and create something new from existing resources. In contrast, Hiorns’ use of copper sulfate raises questions about the ecological cost of creating such intricate art. Could Seizure have been made with more sustainable materials, perhaps sourced locally or less toxic in nature? This is also something I reflected on in my Assignment 9 reading response.
Another layer of complexity emerges when we consider the economics and accessibility of such a project. Seizure required significant resources—both material and labor—and was displayed in a controlled, limited-access environment. This exclusivity raises concerns about the social implications of art that is expensive to produce and difficult to access. In a world where resources and opportunities are unevenly distributed, is it possible to create art that doesn’t inadvertently contribute to social inequality or environmental degradation? Could the same ideas be explored using more affordable or sustainable materials that wouldn’t come with such high costs?
There’s also a social justice dimension to Seizure. The installation was set in a neglected council flat, which could be seen as a commentary on urban decay and the state of social housing. However, transforming this deteriorating space into a spectacle risks reducing a complex social issue to an aesthetic one. The beautiful, but toxic, crystals might serve as a metaphor for societal neglect—both of the environment and marginalized communities. Yet, this approach also runs the risk of distancing the viewer from the real-world consequences of such neglect. The art becomes more about its visual impact than a call to address the underlying issues it symbolizes.
Ultimately, Seizure serves as both a stunning meditation on nature’s power and a platform for reflection on the ethics of art in the context of environmental activism. While Hiorns’ work undeniably engages with ecological themes, it also raises crucial questions about the materiality of art, its impact on the environment, and its role in addressing social justice issues. It challenges us to reconsider the ways we engage with materials and to think critically about the broader implications of artistic practices—on both nature and society.
In light of the class discussions, I’ve come to appreciate the complexities of Hiorns' work, and I think it serves as a powerful starting point for reflecting on how art can both celebrate and critique our relationship with the world around us. Seizure invites us to think deeply about the tension between art, nature, and the values we hold in the Anthropocene.
Presentation Slides