Often the sites are located down current from areas where coral spawn in order to provide landing places for the spores that are released. He places much of his work near vulnerable and over-visited sites to intentionally draw tourists away from those places and toward the artificial reefs that his sculptures create, choosing spots with bare, sandy surfaces and minimal existing marine life. He uses non-toxic, pH-neutral cement to avoid adverse effects on the environment he makes casts of local people to make the sculpture site-specific and then he adds textures to the surfaces so that creatures can attach themselves to the sculpture's surfaces. MUSAN - Museum of Underwater Sculpture Aiya Napa, Jason deCaires Taylor After making the world's first underwater sculpture park off the coast of Grenada (which was labeled one of the 25 Wonders of the World by National Geographic and encouraged Grenada to turn the surrounding waters into a natural reserve), he has been making his art and then sinking much of it beneath the waves ever since. Which is how he has been spending much of his time for the last 15 years. The Lost Correspondent, Grenada, Jason deCaires TaylorĪs deCaires Taylor says, “I realized that I could make art that had a secondary purpose, that was functional and could also tell stories and at the end of the day, whether you like the art or not, it actually served a practical purpose.” They are intended to become habitat-habitat for fish, kelp, algae, plankton and, most importantly and deliberately, habitat for coral. What happens to those sculptures as they rest on the bottom of the ocean floor is a fascinating part of the process, for they don't and aren't intended to remain as they were when lowered by cranes onto the floor of the sea. As soon as we sink them-the sculptures belong to the sea." The Lost Correspondent, Grenada, Jason deCaires Taylor As deCaires Taylor says, “.as soon as we submerge the sculptures, they’re not ours anymore. Much of his work, placed underwater, is designed to interact with and change as the ocean and its inhabitants act upon it. For Jason deCaires Taylor, this letting takes a more extreme form. You can’t control the viewer’s response or interpretation and after you make it, you have to release it. Whenever you create art, there is element of letting go.
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