Extinction is not a formulaic process that abides to a singular set of rules and experiences. Rather, ‘extinction is experienced, resisted, measured, enunciated, performed, and narrated in a variety of ways to which we must attend’ (De Vos, 2007; van Doreen, 2014 cited in Rose, van Doreen and Chrulew, 2017). Explorations of loss manifest themselves differently across varying disciplines, sites and individuals. Therefore, to approach the study of extinction we must be prepared to engage with the varying range of disciplines, sites and narratives that are actively participating in dialogues of loss and extinction. One such way I am seeking to do this in my own research is by looking beyond the boundaries of academia, and asking how both art as a discipline and artists as individuals are responding to matters of extinction. This focus point led me to the gallery ONCA , based in Brighton. ONCA is bringing together a diverse and global range of artists to engage with the ‘Remembrance Day for Lost Species 2017’ (RDLS). ONCA has been observing Remembrance Day for Lost Species for around six years now, and this year’s theme is specifically upon lost pollinators. ONCA’s aim is to offer a space or site in which people can begin to, or further, engage with the feelings of loss and grief that are so closely intertwined with experiences of extinction. The reach of RDLS has been global, with artists from all walks of life observing the day, and creating art in response to it. It is written on their website that:
Remembrance Day for Lost Species, November 30th, is a chance each year to explore the stories of species, cultures, lifeways and habitats driven extinct by unjust power structures and exploitation, past and ongoing.
It emphasises that these losses are rooted in violent, racist and discriminatory economic and political practices. It provides an opportunity for people to renew commitments to all that remains, and supports the development of creative and practical tools of resistance.
I joined ONCA for a workshop meeting to discuss the upcoming RDLS, as well as to visit the artists that are using their creative skills to open up a space in which to think about and explore feelings of environmental grief. Specifically, the grief we feel for many of the species that are being lost in the modern world. What became evident to me was that the topic of extinction has reached far beyond the realms of natural sciences, to which it was traditionally confined, and has begun to trigger responses from individuals from an extensive range of backgrounds, interests and cultures.
But what is the role of art in helping us question the current ecological state, and shaping the future of ecology? As Robert Macfarlane (2016) recently asked: ‘How might a novel or a poem possibly account for our authorship of global-scale environmental change across millennia – let alone shape the nature of that change?’. Yet, artistic interest in ecological matters is a core way in which individuals outside of the environmental or academic spheres have begun to question the assumptions about humans’ place on Earth, and grapple with the uncertainties of our impacts upon ecosystems, environments and non-human others. From speaking to those involved in RDLS it is clear that artistic expression, whether it be fine art, performance art or sculptural art, has the ability to reach out to a diverse range of audiences and evoke powerful questions regarding the state of the world around us.
In answer to Macfarlane, I would contend that art has a powerful role in both representing and influencing the perceptions and assumptions of the society within which it is being created and practiced. Art performs, but it also challenges, questions, engages and creates new forms of knowledge. As the global involvement in RDLS has shown, it can reach out across the world and capture the attention of people of many different cultures and backgrounds, engaging us in the key questions that need to be addressed about the future of all living creatures on Earth.
De Vos, R. (2007). “Extinction Stories: Performing Abscence(s).” In: Knowing Animals. Edited by: Laurence Simmons and Philip Armstrong. Leiden: Brill. pp. 183-195.
MacFarlane, R. (2016). Generation Anthropocene: How Humans Have Altered the Plant Forever. Available from: https://www.theguardian.com/books/2016/apr/01/generation-anthropocene-altered-planet-for-ever. Last Accessed 14th November, 2017.
Rose, D.B., Van Doreen, T. and Chrulew, M. (2017). Introduction: Telling Extinction Stories. In: Extinction Studies: Stories of Time, Death and Generation. Edited by: Deborah Bird Rose, Thom van Doreen, and Matthew Chrulew. New York: Columbia University Press. pp. 1-17.
Van Doreen, T. (2014). Flight Ways: Life and Loss at the Edge of Extinction. New York: Coumbia University Press.
Article shared with the permission of the author. See more at https://www.extinction-network.com