- The ‘Spirit Tables’ will represent the fall and rise of whales in the oceans of the sub-Antarctic
After a year-long search, the South Georgia Heritage Trust and the Government of South Georgia & the South Sandwich Islands are delighted to announce the winner of a major international artistic commission that was designed to highlight the environmental recovery of the stunning sub-Antarctic island of South Georgia, a UK Overseas Territory in the Southern Ocean.
The idea of the commission was to challenge artists to find a way to tell the powerful conservation messages of South Georgia, an island that was at the centre of the whaling industry for decades, but is now a modern rarity: an eco-system in recovery and a beacon of hope for conservation activities worldwide.
The winning artist is Scottish sculptor Michael Visocchi, with his work called ‘Commensalis – the Spirit Tables of South Georgia’. This site-specific piece will be situated on South Georgia at the Grytviken Whaling Station, with Michael’s concept drawing inspiration from a number of sources to tell the island’s powerful story.
The artwork will be made up of three main elements that all interlink to tell the story from devastation to the recovery of whale populations in the oceans around South Georgia, and more widely.
Visually it will make a connection between the barnacles found growing on the skin of various whale species and the steel rivets which literally held together the structures and vessels that powered the whaling industry for nearly a century. It will also reference the industrial nature of the whaling station and materials used in the derelict buildings that bore witness to the processing of so many whales.
The Key Table sets the scene through a series of rivets arranged in a Nightingale chart*. It will visualise for visitors the stark reality that 175,250 whales were processed at South Georgia between 1904 and 1966. The Key Table will help unlock the message of what will follow with the other elements of the artwork.
The Footbridge is being explored as an element of the project, once Michael has had the opportunity to visit, and crossing it will provide a moment of reflection and contemplation as visitors walk across the slipway area where thousands of whales were dragged up and processed.
It will act as a transition point from the Key Table area to the Flensing Plan – the name given to the platform where the processing took place. The Footbridge will guide visitors to the final element of the artwork – the Spirit Tables.
The Spirit Tables are at the heart of the Flensing Plan and consist of six tables representing the six different whale species that were hunted and processed at Grytviken: Blue Whale, Fin Whale, Southern Right Whale, Sei Whale, Sperm Whale and Humpback Whale.
The Spirit Tables are punctuated by stainless steel button head rivets in various patterns, with each rivet symbolising a live whale or the spirit of a live whale. Michael’s design allows light to bounce off each rivet, illuminating the space and emitting a feeling of hope that is now evident around the waters of South Georgia following the end of whaling and the return of a number of species.
Recent expeditions by British Antarctic Survey have resulted in an unprecedented number of sightings of both blue and humpback whales, suggesting that the waters of South Georgia are once again becoming an important summer feeding ground for both species.
The title of the artwork Commensalis is derived from the biological term commensal, which defines a biological relationship where two species benefit from one another and where neither species suffer. Michael’s artwork focuses on the commensal relationship between whales and the whale barnacle. The artwork’s title more broadly proposes whether humankind ought to aspire to have that same commensal relationship with planet earth.
On being awarded this prestigious commission artist Michael Visocchi said: “This is an enormous honour and an extraordinary opportunity to engage creatively with such an important story in a truly remarkable place. It is going to be a real privilege to work alongside the many skilled and dedicated people who are so deeply invested in South Georgia and its wildlife.
“It is very rare for an artist to have the opportunity to respond to and work in such a genuinely special place and with such a deeply emotive subject matter. I have tried to weave a sense of hope into this work in an otherwise tragic and charged location in the whaling station. The Flensing Plan was where the more brutal physical aspects of whaling took place. I hope though that future visitors will gain some insight and hope from my Spirit Tables.
“As a sculptor and maker my work has always attempted to deal with our interaction with the landscape. This is what drew me to applying for this commission in the first place. It isn’t often that ‘site specificness’ or responding to a particular context is written into a commission brief.
“I hope the scale of this work in some way evokes the majesty of these amazing creatures and the magnitude of this story about humankind’s quite often troubled relationship with other species and the environment, but also humankind’s amazing ability to steer ultimately towards enlightenment.”
The South Georgia Heritage Trust, the Scottish-based charity that has organised this artistic commission, has been working on the island in close partnership with the Government of South Georgia & the South Sandwich Islands (GSGSSI) since 2005.
Its hugely successful Habitat Restoration Project has reversed two centuries of human-induced damage to the island’s wildlife, eradicating the mice and rats that arrived as stowaways on sealing and whaling vessels from the late 18th century onwards that preyed on ground-nesting and burrowing birds.
As a result, millions of birds reclaimed their ancestral home when South Georgia was declared rodent-free in May 2018 – the largest invasive species eradication in the world.
Alison Neil, Chief Executive of SGHT said: “We were delighted with the responses from all over the world to the commission and it was heartening that so many artists were moved by the compelling story of South Georgia and wanted to be part of making a difference.
“The competition was tough, but the entire judging panel led by Elaine Shemilt (Vice Chairman of SGHT and Professor at Duncan of Jordanstone College of Art & Design, University of Dundee), was impressed by the level of research Michael had undertaken and were struck by how his concept so effectively captured the essence of the brief, which was to shine a light of hope onto what can often seem a bleak future for our environment.
“This is just the start of the journey for SGHT and Michael, who will have the opportunity to visit South Georgia and evolve his concept once he has physically seen the site at Grytviken.
“The era of whaling and sealing was a dark period in our planet’s history, but the tide is turning.
“Now, not only are South Georgia’s birds free from invasive rodents, but whale species are starting to recover in the seas around the island too, which thanks to the GSGSSI now encompasses a 1.24 million km2 Marine Protected Area.
“We are thrilled that this artistic commission will sit at the heart of the work we are embarking, on as part of a cultural heritage programme to tell the world more about the human story on South Georgia.”
Helen Havercroft, Chief Executive of GSGSSI and a member of the judging panel said: “The Government looks forward to working alongside Michael and our Heritage Advisory Panel to ensure that the impressive concept Michael presented works to enhance the visitor experience at Grytviken and provide that critical ‘hope’ that humankind’s ability to destroy can be repaired through collective effort and a world-class management.
“Past human activities pushed some species to the brink of extinction but today, through hard work and commitment, South Georgia is a global rarity; an ecosystem in recovery with the recently published papers on returning whales to South Georgia’s waters serving as evidence of that recovery.”
Amanda Catto, Head of Visual Arts at Creative Scotland, who was also part of the judging panel, said: “Art is a really accessible and emotive way to tell powerful stories about the environment and engage people who might otherwise not be interested. The level of interest and entries to the competition demonstrates that.
“I am particularly impressed with the way the competition has been run and the quality of entries was incredible. Michael’s winning concept is exceptionally powerful and the way he proposes using the site and the materials to bring it to life is something I look forward to following as this project develops.”
Michael was due to visit South Georgia in the coming months, but due to COVID-19 this has been rescheduled to autumn 2021. Given the site-specific nature of the piece, it is imperative the artist has the chance to visit and adjust their concept accordingly, something that is particularly important for Michael who hopes to include disused materials from the whaling station in his construction.
The artwork will be permanently installed at Grytviken Whaling Station located in Cumberland Bay, South Georgia. Grytviken is the only visitor-accessible whaling station on South Georgia and receives around 10,000 visitors per year under usual circumstances.
Michael’s artwork will also be part of an outreach programme in the UK (currently under development), which may see Spirit Tables placed in a number of locations to engage a wider number of people in the story of South Georgia.
A video of Michael talking about his commission and the inspiration behind it can be viewed here: https://www.youtube.com/watch?v=HQVjwY4YE1c
24
0
20
What is required is for the derelict whaling stations to be entirely razed by bulldozers, and removed without trace, but for a modest monument to the 175,000+ whales butchered there. A plaque or a small statue of a whale perhaps.
But instead, the philistine gangsters who profited by the slaughter send their talentless progeny, to tastelessly commemorate unrestrained human avarice and the carnage of cetaceans by means of a scrapyard. Go figure.