(in progress - please check back for updates)
Currently installed as part of Owning Earth curated by Tal Beery at Unison Arts Center, New Paltz, NY.
Open June 26 2021 - June 22 2022.
Futile attempts at control in an area of curated wildness, mini industrial farms in the forest, or retirement homes for abused tubers; these ambiguous earthworks are also monuments to communal labor and conversation about food and land.
A virus of square-topped earth protrusions appears to infect the forest floor with the geometric signs of human profit-driven activity on the planet. Each form was built by hand in collaboration with invited guests. We ate together, worked together and explored our relationships with the land in dialogue. We made potting mix from the forest floor with sand, local town compost and fermented horse manure. The potatoes came from a variety of local, commercial supermarkets and grocery stores, purchased in 5lb plastic sacks. All were industrially farmed in the USA.
These living forms - each teeming with billions of microorganisms, alongside plant and insect life - continue to evolve in the woods, losing their geometry and creating unique, complex, sustainable forms with interdependent internal systems invisible to the human eye. Potatoes sprayed with more potent sprout-retardant chemicals were not able to root, and their forms fell apart quickly. Rooting potatoes were able to stabilize the forms for much longer and to take advantage of a fertile environment to sprout.
The title is taken from an absurdist play, The Future Is In Eggs, by Eugène Ionesco. A frenetic scene finds two squabbling families arranging the marriage and public reproduction of their reluctant adult children in order to secure the future of the white race. As a new batch of eggs is laid, they squawk "Co-co-codac!" as the scene devolves into chaos. The potato - a postcolumbian import from the Andes - played an intimate role in the Industrial Revolution in Europe, its exponential growth feeding an exploding population of workers, and leading to the colonialist ravaging of other countries for labor and materials. The potato is farmed monoculturally on a colossal scale today in the US to satisfy commercial demands for uniformity, and can only be done so with the repeated use of an array of toxic chemicals. This comes at great cost to the land, whose fertility is being stripped, as well as to countless species, including our own. As usual, the greatest impact to humans is on low-income communities of color.
This year-long project will culminate in a publication documenting a year of growth, decay and dialogue.
Link: Co-co-codac! audio guide
(Audio guide text)
Among the trees, square-topped earth forms seems to rise from the ground. Billions of forest floor microorganisms meet us at body level like the fruits of an anthropocene fungus.
Profit-based human activity on the planet is signalled by geometry - the most direct routes from A to B, at the expense of the quiet in-betweens. These forms might recall gallery pedestals - but also our rectilinear homes, our farmlands and our borders.
Each protrusion contains potatoes bought from local supermarkets. These tiny industrial farms seem out of place in our sanctuary from a fast-paced life; or perhaps they are luxury hotels, a tuber's retreat from fluorescent lights and pesticide sprays. These potatoes may sprout, but they are not required to.
The title of this work is taken from an absurdist play, The Future Is In Eggs, by Eugene Ionesco. Characters who have become obsessed with producing more and more of their own kind cluck ‘co-co-codac!’ as an arranged marriage produces new batches of eggs, ensuring the future of the white race.
The potato is a postcolumbian import from Bolivia and Peru. Introduced in Europe, the astounding reproductive prowess of this humble root vegetable fed an exploding population of workers of the Industrial Revolution, the engine of early colonialism. These days in the US, potatoes are farmed on an immense scale for huge corporations, rendering land and waterways infertile and poisoning low-income communities.
The forms also act as records of conversation. My guests and I made potting mix from the forest floor with sand, local town compost and horse manure while we talked about food and land. The constructions and dialogues will continue throughout the year to form a publication.