As raw crude oil continues to fan out across the northern Gulf of Mexico, Swedish-American sculptor Kent Ullberg is breathing a sigh of relief. The good news—if it can be called that— is that the slick, unleashed by an explosion aboard a British Petroleum oil-drilling platform, isn’t drifting toward Texas where Ullberg lives in Corpus Christi.
The Lone Star State coastline, not far from Ullberg’s home, is a refuge for, among other things, the only significant wintering grounds for imperiled whooping cranes, and habitat for numerous birds, nesting sea turtles, and, of course, a much wider array of marine life and sustainable oyster and shrimp fisheries.
The bad news is that experts believe this event could be larger than that of the Exxon Valdez in Alaska’s Prince William Sound 21 years ago if it isn't contained soon.
Winds and waves are carrying millions of gallons toward the fragile barrier islands and bayous and estuaries of Louisiana, Mississippi, Alabama and the Florida panhandle.
In 1989, shortly after the Exxon oil tanker ran aground fouling Prince William Sound on an epic scale, Ullberg responded with an artistic statement. His sculptural piece, Requiem For Prince William Sound, portrayed a bald eagle—America’s national wildlife symbol—with its head flung back. Allegorically, it was meant to represent bracing agony, trauma, and the hope of nature’s resilience.
The piece received favorable critical response when it appeared in exhibitions sponsored by the National Sculpture Society, National Academy of Design and Society of Animal Artists. Four dozen of his works are now on display through June 29, 2010 at the Rolling Hills Wildlife Adventure gallery in Salina, Kansas, part of a national traveling exhibition that opened last year at the Joslyn Art Museum in Omaha, Nebraska. Next, from July 10 to September 5, 2010, the showing will appear at the Spartanburg County Art Museum in Spartanburg, South Carolina.
Ullberg hails from a line of Swedish mariners who made their living in the North Sea off the coast of Gothenburg. He was disgusted that the captain of the Valdez could be so irresponsible with his navigational duties in a place so breathtaking and fragile.
Some 11 million gallons, equal to 257,000 barrels, spilled by the Valdez's damaged hull, enough to fill 17 Olympic-sized swimming pools. The casualty list was extensive. The carcasses of 35,000 birds and 1,000 sea otters were actually found but the toll is assumed to be far greater. Some biologists believe that 250,000 seabirds, 2,800 otters, 300 harbor seals, 250 bald eagles, up to 22 killer whales, and billions of salmon and herring eggs were destroyed.
If you go to affected shoreline areas wrapping around Prince William Sound today, you can still find oil residue just beneath the surface. I have touched it with my own hands.
What awaits the U.S. Gulf Coast and how many other drilling platforms around the world are vulnerable to a similar blowout?
Art can play an important role in providing social commentary. That’s why Ullberg works as a maker of wildlife monuments now found in a number of prominent public spaces.
He isn’t judging BP, nor casting gratuitous aspersions at the oil industry. After all, he says, when he heads out across Corpus Christi Bay to study dolphins, and spy whooping cranes at a nearby national wildlife refuge and research other subjects for his bronze and stainless steel pieces, he must fill up his boat with gas. Gas has to come from somewhere.
Twenty-one years ago when Ullberg created Requiem, a collector had hoped to install a 10-foot version of the piece in the port town of Valdez, Alaska where the big tankers arrive to collect oil that is piped down hundreds of miles from Prudhoe Bay. Plans for the piece, however, were scrapped because some people didn’t want to have an artistic reminder of the spill in front of them.
That’s unfortunate; it was never Ullberg’s intention to poke a stick in the eye of those responsible. It was instead a totemic tribute to the environment and the people who value pristinity.
Perhaps now the piece could be given new life. This time, a monument-sized version of Requiem could rise over Corpus Christi Bay or the international oil hub of Houston, or maybe somewhere else along the Gulf Coast that might be dealing with the after-effects of this latest disaster for decades to come.
The oil industry has enjoyed a tremendous bonanza of profit in the Gulf. Now it needs to prove that it will never let an event like this happen again when so much is at stake. Wildlife art can serve an important role in reminding humans of our daily responsibility to care for the biosphere with vigilance and caution.
of art and oil spills disasters
I wish there were more articles to help others as myself in how about going about doing so w/ their art and donations.
Art Captures Sentiments of Those Without A Voice
A single symbol or metaphor helps us to identify purpose and meaning. Today when mis-use and abuse by politicians and government has bred such mistrust, it's necessary for our communities to redirect their energies to identifying and creating meaning, purpose and leadership within. Within ourselves, our communities and for one another. In part, that is the role of our artists and musicians - to inspire from within.
We are at a tipping point. A place from which great change can emerge. Personally I would love to see communities coming together through art and music, inspiring positive and intelligent change during this pivotal time.
Our organization's director is in New Orleans trying to get access to people's stories. Here's the press release: Artfully AWARE's Vision Precedes Action During The Gulf Coast Spill http://ow.ly/1SFle
If you can help us gain access to the stories, are a community leader or artist, please feel free to contact us at create@artfullyaware.org
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