I have further refined my issue, narrowing down its focus into one key point that I see as a a major problem. The major issue that the anti-nuclear weapons movement has at this time is the fact that the general populous is more apathetic than ever regarding the issues surrounding nuclear weapons. Participation in anti-nuclear movements is at an all time low. Wilson Ward states in his journal article;
Just because ordinary citizens have decided to put the problem of nuclear weapons out of their minds doesn’t mean that the danger no longer exists. Nuclear weapons remain the gravest threat of sudden catastrophe that we face. (Ward, 58)
This apathy is backed up by the below graph (Fig 1), note how the numbers in 2015 are lower than any other time in history since the creation of Nuclear Weapons. At one point in time the anti-nuclear movement was the largest global movement on the planet, today, the issue is all but forgotten.
- Approximated Participation in anti-nuclear movement worldwide,1950-2015. From Wilson, Ward. “Why are there no big Nuke Protests?” (Bulletin of the Atomic Scientists Vol 71 (2015). 52. Web. 4 June 2016.
The goal that I hope to achieve with my sculpture is to promote a new awareness of Nuclear Weapons, reminding those who see it that Nuclear Weapons are still a global threat, as well as promoting a visual conversation,that incites the viewer to ask themselves what role they think nuclear weapons play in the world, and whether their continued existence in our world is at all justifiable or necessary.
With Further investigation I have discovered some artists that have techniques and ideas that closely align with what I am currently designing. I have focused on sculptures of mushroom clouds and have found two artists who have made in depth and creative pieces that I believe also serve to bring awareness and open a discussion about the issues of Nuclear Weapons.
Silent but Violent – Anna Burns and Michael Bodiam
Bodaim, Michael & Burns, Anna. “Silent but Violent”. Photography series. 2014. Web. 02 June 2016.
The above photos are a series called “Silent but Violent” by set designer Anna Burns and Photographer Michael Bodiam, the series captures the iconic imagery of the Mushroom cloud and recreates it using innocent materials such as flowers and balloons.
It shows how powerful an icon the Mushroom cloud has become as a symbol of Nuclear Weapons and modern war in general, and how even when it is recreated out of commonly friendly materials, it still manages to trigger an emotional response of fear no matter what material they are made of. It is something I am hoping to recreate in my final piece.
“A rampant, self-perpetuating thirst for gore and mass-destruction still runs rife among the mass media and begs plenty of questions about our appetite for the mystery and mayhem of modern combat,” the artists say. “Are we hungry, enthralled or just anaesthetised?” (Burns, Anna)
The purpose of their series was to show the way that grotesque icons of war a destruction have been engrained so deeply into our culture that even when they are made of seemingly innocent materials, the shock and awe affect is still the same. This to me shows the power of the mushroom cloud as a symbol of both war and nuclear weapons. It commands a sense of fear and respect that is simultaneously both terrifying and enthralling, and that kind of core emotive response is something I want to capture in my own work.
Playhouse – Dietrich Wegner
Figure 2 – Wegner, Dietrich. “Playhouse”. Sculpture. 2013.
Artist and sculptor Dietrich Wegner created this (Fig 2) 6-metre high sculpture to represent both the innocence of humanity through the playhouse aspect of the sculpture, and the evil that humanity is capable of represented by the mushroom cloud aspect of the sculpture. The sculpture is part of a series called ‘Terrorvision’. Commenting on his sculpture, artist Dietrich says;
“In Playhouse, I combine an atomic bomb’s mushroom cloud, with one of the safest places one can go to, their childhood playhouse. I hope my work helps people think about our collective fears, our innocence and the decisions we make to be safe. My hope is that we climb above our terror enough to think about the reality and consequences of our actions. (Wegner, Dietrich) ”
The impressive scale of the piece makes it imposing in a similar fashion to that of real mushroom cloud, whilst simultaneously looking inviting and friendly with a friendly wooden ladder hanging off the side.
Dietrich’s purpose with this piece was to create a discussion about how we don’t have to live in fear of terror, whether it be terrorists or nuclear weapons, it is up to us to shape the world that we live in into a better place for ourselves and the generations after us.
Dietrich’s sculpture was also a key set piece of street artist and visual activists Banksy’s “Dismaland”, which featured works that critiqued global culture as a whole visually.
This is me assembling my sculpture. Ive used poly-fill to stand in for the clouds of the mushroom cloud. As you can see the branches of the light go outwards which holds onto the poly-fill really well. In order to branch out further however though I’ve used a thin metal mesh. Finally the loose poly-fill is attached to the light using narrow gauge wire. I had some issues with actually getting the photo studio and ended up having two shooting sessions that weren’t able to go ahead due to unforeseen circumstances like the courier being late and being kicked out by security earlier than anticipated. Fortunately I had managed to finally get into the studio on Saturday and complete my shoot.
References
Web
“Welcome to Dismaland: A First Look at Banksy’s New Art Exhibition Housed Inside a Dystopian Theme Park [Updated 8/22].” Colossal. N.p., 2015. Web. 07 June 2016.
Academic Journals
Wilson, Ward. “Why are there no big nuke protests?”. Bulletin of the Atomic Scientists Vol 71 (2015). 50-59. Web. 4 June. 2016.
Daniel Shorrock 