Swells of Discard
- Porthtowan Beach, Cornwall
- Cord Surfboard Factory, St Agnes, Cornwall
- Summer through to Winter 2024
- Three major installations
- Photography
- Paintings
- Beach Art
- Sculpture
- Significant Public Event
- @porthtowanfinearts – Instagram and Facebook
As an artist deeply rooted in both environmental activism and surf culture, my work explores the intricate relationship between sustainability, the surf industry, and our coastlines. Through a fusion of recycled materials, organic textures, and vibrant hues, I seek to evoke a dialogue about the pressing need for ecological mindfulness within the surf community and beyond.
My practice involves repurposing discarded surfboards into sculptural forms and mixed-media installations. These pieces serve as both aesthetic objects and poignant commentaries on the environmental impact of consumerism and the surf industry’s footprint. By transforming these remnants of human activity into art, I aim to highlight the potential for creativity and innovation in addressing environmental challenges.
The coastline, with its dynamic interplay of natural beauty and human influence, is a recurring motif in my work. I draw inspiration from its ever-changing landscapes, the resilience of marine ecosystems, and the symbiotic relationship between surfers and the sea. My art aspires to foster a deeper appreciation for these fragile environments and to inspire action towards their preservation.
Ultimately, my work is a call to rethink our relationship with the ocean, urging the surf industry and its enthusiasts to embrace sustainability and stewardship as integral components of their identity.
Swells of Discard is a large-scale art installation that delves into the environmental and cultural consequences of consumerism within the casual surf industry. The piece takes the form of a massive wave, constructed from 400 discarded and broken bodyboards—objects once associated with coastal leisure that have now become potent symbols of environmental neglect.
At the core of the work lies an irony: an industry that thrives on promoting harmony with nature is also responsible for contributing significantly to its degradation. The bodyboards, once vibrant and dynamic, skimmed the ocean’s surface in moments of fleeting joy but now return as the raw material of a broken wave. This wave symbolizes the cynical nature of production, consumption, and discard in a consumer-driven world—where the pursuit of pleasure often leaves behind a trail of waste.
The crest of the wave, mimicking the force and energy of the ocean, is frozen in a state of collapse, symbolizing both the power of nature and the fragility introduced by human intervention. The disjointed, fractured boards visually convey the discord between the natural world and the consumer systems that exploit it, leading to unsettling perceptions.
The boards used were gathered by the Ocean Recovery Project, focusing on beaches impacted by surf tourism. The construction reflects the work of artists such as Phyllida Barlow, openly showing large-scale representations of waste and being both obtrusive and invasive simultaneously. In its scale and use of natural forms, the piece also resonates with Olafur Eliasson’s environmental works, highlighting human-induced ecological changes, and echoes Rafael Pérez Evans’ Grounding; 29 tons of carrots dumped outside a university, using surplus and waste as a medium to critique economic systems and overproduction. Thus, this project situates itself in the larger traditions of Anthropocene art, where the human impact on the environment takes centre stage.
The sister installation, The Mortality of Consumerism, reinforces this message in a different context. In this piece, discarded and broken bodyboards are arranged on the beach like tombstones in a graveyard. Each board represents not only the end of its own utility but also a marker of the ongoing environmental cost of consumerism. Together, and bolstered by supporting works, these installations form a compelling narrative about the lifecycle of consumer goods, the consequences of overconsumption, and the environmental toll of our recreational industries.
Exhibiting in a surfboard factory that produces environmentally aware boards adds a powerful and strategic contrast. The factory, promoting the production of eco-conscious boards, stands in direct opposition to the cheap, mass-produced, “disposable” bodyboards that make up the installation. This stark juxtaposition emphasizes the installation’s critique of consumerism and draws attention to the need for responsible production within the industry. By situating the work in a space that embodies a more sustainable approach to surf culture, the installation highlights both the problem and potential solutions. The viewer is invited to reflect on the environmental impact of disposable goods versus more conscientious alternatives, deepening the conversation about consumer choice and industry responsibility.
Through this visually arresting installation, Swells of Discard challenges viewers to examine their relationship with consumerism, leisure, and environmental responsibility. The wave of discarded bodyboards becomes a stark reminder that the pursuit of pleasure often leaves behind an enduring environmental footprint—a wave of waste that demands recognition and action.