Martin Hill Watershed 2 3

1 MARTIN HILL WATERSHED 2 3

MARTIN HILL WATERSHED

IN COLLABORATION WITH PHILIPPA JONES MARTIN HILL: watershed In collaboration with Philippa Jones 16 February – 27 April 2014 Exhibition Curator: Robert Lindsay Catalogue Design: Liz Cox, monoprint.com.au Printer: Mercedes Waratah Paper: Hanno Silk Edition: 500 National Library of Australia Cataloguing-in-Publication entry Authors: Lindsay, Robert / Pickens, Robyn Title: Martin Hill: Watershed ISBN: 978-0-9874010-2-1 (pbk.) © McClelland Sculpture Park+Gallery, the authors, designers and photographers. Cover: Alpine Ice Cycle 2013 (detail). Photo Martin Hill Opposite: Whare Kea Chalet, Albert Burn Saddle, Mt Avalanche and Mt Aspiring. Photo Martin Hill Following page: Mt Aspiring from Albert Burn Saddle with cloud forming on the Coxcomb Ridge. Photo Martin Hill McClelland Sculpture Park+Gallery 390 McClelland Drive Langwarrin Victoria 3910 T + 61 3 9789 1671 www.mcclellandgallery.com CONTENTS 5 Foreword Robert Lindsay 6 Martin Hill: standing at the watershed Robyn Pickens 12 watershed: the eternal flow An interview with Martin Hill by Philippa Jones 46 List of Works 48 Bibliography

6 foreword An artistic exploration into the ecological patterns and the environmental systems of nature, 7 encapsulated by McClelland’s artistic theme of art and nature for the Sculpture Park, forms the philosophical basis of our exhibition and public programs. The Watershed project, comprising a new body of work by Martin Hill made in collaboration with Philippa Jones, which explores the alpine wilderness adjacent to the Albert Burn Saddle in the Southern Alps of New Zealand, exemplifies this focus. Comprising 25 photographs and two videos, this project represents a year of research and experimentation with human systems and the water cycle, involving ice and ephemeral snow sculptures and other natural materials. It demonstrates the interdependence of systems and draws attention to the necessity for there to be a vision that encapsulates a design for a sustainable future. The Watershed project was made possible through the generous assistance of the Kenneth Myer Artist’s/Writer’s Alpine Retreat program and residency in New Zealand at the Whare Kea Chalet, located 1750 metres high on the Albert Burn Saddle, opposite Mt Aspiring and its National Park. This Watershed exhibition at McClelland has been generously supported also by the Louise and Martyn Myer Foundation. As the inaugural recipients, Martin Hill and Philippa Jones created numerous ephemeral sculptures in the alpine setting for the Watershed project. Although the title Watershed references the topographical divide of the Albert Burn Saddle between two river systems, the Matukituki River and the Albert Burn, the title also implies that we are at a critical time for an ultimate decision. There is a great divide between respecting nature and working towards a sustainable ecological future or facing a perilous irreversible decline into an uncertain environmental future. For more than two decades Martin Hill has been creating and photographing works that fall under the broad category of ‘Land Art’ with ephemeral installations made from natural materials that are then reabsorbed into the landscape. This artistic focus arose when he was pursuing a successful career as a graphic designer, but as a dedicated rock climber and photographer he became increasingly concerned about humanity’s drive towards resource consumption and the destruction of the natural environment. One of the key elements in Martin Hill’s engagement with the environment is a focus on water; the hydraulic cycle which symbolises Nature’s life force and its grand design. It is Nature’s beauty, seen especially in the shrouding grandeur of mists, clouds and storms, as well as the pictorial qualities of ice and snow in the alpine wildernesses, that inspires him and which he seeks to exemplify. In earlier works Martin Hill used the motif of the circle to symbolise this constant cycle of change in nature, with the variation of a semi-circular form which is completed to the full circle by a reflection on the mirror-like surfaces of the mountain lakes and tarns. In later works a human silhouette is featured, either as an ice and snow sculpture or an anthropomorphic element in the landscape that in the focused context of a framed photograph, emerges as a human figure. These later works embody a degree of ambivalence, in part symbolising the increasing intrusion of mankind into the wilderness but also providing a focus and identification with the patterns and cycles of the wilderness. Martin Hill is inspired by the grand design of Nature and through the presentation of its beauty and vulnerability he entreats us to respect and care for our environment. The exhibition of the Watershed project thus elegantly proclaims the need for an ecologically sustainable future.

ROBERT LINDSAY, 2014 Director McClelland Sculpture Park+Gallery 8 Martin Hill: Standing at the Watershed Robyn Pickens Stone Circle, Whanganui Bay, Lake Taupo, New Zealand 1994. Photo Martin Hill

We may be said to be in, and of, nature from the very 9 beginning of ourselves.₁ — Arne Naess

If it was the apparent ‘limitlessness’ of the earth apprehended by Land Art artists of the late 1960s–1970s, it is by contrast the ‘limitedness’ of intertwined ecosystems and their inhabitants that grips artists working on and with the land today.² While the genera of ‘Land Art’ or ‘Earth Art’ still tend to function as broad umbrella terms, many contemporary artists opt to be described as ‘Environmental Artists’ or ‘Ecological Artists,’ to reflect the degree to which their art engages with the planetary crises faced by all sentient beings and systems at the start of the twenty-first century. Martin Hill is one such Environmental artist, who makes ephemeral sculptures in and of nature and photographs them. For the past twenty years he has been passionately committed to communicating the need for the living patterns of humankind to adapt to those of the natural world. Adaptation in this sense is an acknowledgement that each species In conceptualising and framing the exhibition Watershed Martin occupies a niche that nests within a wider cycle of life coupled with the has drawn on all three interrelated meanings of the term ‘watershed’. understanding that outgrowth of the particular niche or habitat leads to Some meanings may be more familiar than others. The most familiar, the loss of that very home. The inference here is plain: we, humankind, in a Southern Hemisphere context describes a moment recognised as a are coming closer to destroying the earth which supports us. We are ‘turning point’: a moment flush with recognition and deep understanding. awash with statistics that attest to our overconsumption and overuse; With the distance of future time the moment is looked back upon the ways in which we have overshot many of the guidelines for healthy as compellingly significant. It is the moment when the resonance of and safe lives.³ We occupy a watershed moment. realisation necessitates action, such is the impact. A watershed of this There are many crucibles in this picture of planetary crisis and all are nature can both stem from and have ramifications that are personal, interconnected. To take one example (for which the title of a photographic societal and global. From a personal and artistic perspective Martin was work in Watershed bears enigmatic reference – The Sky is Broken [all 2013]) intent on pushing his practice in new directions yet his outlook and field it was the release of harmful CFCs into the atmosphere by the bulk of the of vision remain focused on communicating our present watershed to as global population in the Northern Hemisphere that contributed to ozone wide an audience as possible. depletion over Antarctica in the Southern Hemisphere, causing higher rates The second definition of ‘watershed’ is more familiar in the Northern of skin cancer in Australia and New Zealand.⁴ The logging of a forest upriver Hemisphere. We tend to know it by another name: ‘catchment’. A may cause flooding further downriver due to the loss of the root system catchment or watershed is an area bounded by natural landforms that that holds ground water. No activity is incidental or isolated. Attention has holds a body of water. Catchments are born in the mountains and fed by shifted over the past few years to what has been widely described as the snow melt and precipitation. Following the path of least resistance and crisis of the twenty-first century: water.⁵ Water is the new oil. If capitalist the laws of gravity the water flows out of the catchment in rivulets that zeal for unyielding resource extraction regardless of environmental gain momentum en route, forming rivers, lakes and tributaries before impact continues apace, the ‘new Middle-East[s]’ will centre on the large eventually reaching the sea. The water is returned to the mountain by freshwater lakes of Brazil, Russia and Canada.⁶ With Watershed Martin further stages of the hydrologic cycle via mist, cloud formation, rain Hill, in collaboration with Philippa Jones present the results of one year’s and snow. Watersheds are themselves becoming endangered species dedicated research into the hydrologic system; into the complex water through what is described as anthropogenic climate change; climate cycles that produce the water we and others depend on. In a substantial change caused by humankind. If there is less ice there is less snow melt body of work comprising twenty-five large scale photographs of ephemeral and therefore less water. The implications are clear. works made in and of nature, supported by a sculptural work and two Martin’s enlarged understanding of the third meaning of ‘watershed’ videos, Martin draws our attention to the centrality water plays in our lives provides potent conceptual tools for not only unpacking the layers and the urgency surrounding this moment in time. of his own work but also for the wider project of environmental Martin climbing Mt Avalanche, Mt Aspiring National Park 2011. Photo Grant Morgan

10 sustainability which he champions. But first, the meaning. In legal parlance a particularly important decision by the high court that overturns a lower court ruling to usher in a new understanding and subsequent codes of conduct is termed a ‘watershed ruling’. It can also be known as a ‘landmark ruling’. In his expanded view Martin transposes entities in accordance with his views on the necessary changes required by humankind in relationship to nature. In his reframing, nature and natural systems come to occupy the high court while the activities of humankind, particularly those of an economic, transactional kind reside in the lower courts. Humankind must cede to and live within the finite and exquisitely poised systems of nature, otherwise, quite simply, there will be no ‘court’; high or lower. They are, as Martin distils in the mesmerising, eponymously titled video included in Watershed, Burning Issues (2 minutes). Beginning his professional life as a communications designer in London, before moving to New Zealand in 1975, it is no surprise that some of Martin’s earliest (and continuing) influences were design-orientated: repurposed, directing his energies to presenting remarkable images of Victor Papanek (1923–1998) and Richard Buckminster Fuller (1895–1983) nature’s beauty and cyclical complexity. among them. Both Papanek and Buckminster Fuller share the view that At the apogee of his professional career in the mainstream design design must be responsible both to the consumer constituency and to the world, where even the doormen had gold epaulettes (!),¹³ Martin environment.⁷ Self-described as practising a ‘comprehensive anticipatory was strategically positioned to view the environmentally untenable design science’⁸ and indeed ahead of the consciousness of his time intersections of design, economics and the ecology. It became apparent Buckminster Fuller asked: that the Western charter of infinite growth that externalises costs to ‘Why don’t we simply look at how nature builds things and then build the environment and ecological systems was considerably out of kilter our own structures accordingly?’⁹ with the finite, interconnected natural systems on which we depend Some decades later this is a view now enthusiastically shared by for life. Martin cites ecological economist William Rees (1943–) as a range of designers, scientists and even a new breed of ecological an instrumental influence on his thinking. Acknowledging Rees in economists. The contemporary foundation for this trajectory can our interview Martin foregrounded Rees’ central term of ‘cognitive perhaps be traced to biologist Janine Benyus (1958–) and her concept dissonance’¹⁴ for contributing to humankind’s current watershed state of ‘biomimicry’ where not only product design mimics biological design of planetary crisis. but natural systems’ recognition of adaptation to niche as well.¹⁰ In the Almost unbelievably, humankind is still largely functioning in a zone world of entrepreneurial business, models of an economy based on of disconnect. As Martin points out there are ‘two opposing world the key principle of nature’s cyclical processes are gaining traction and views’¹⁵ that compete for our attention. One is the ecological view that evident at the level of theory and praxis in the example of Gunter Pauli’s humankind is but one member species of a vast, interconnected web of (1956–) ‘blue economy,’¹¹ amongst others. cycles and systems which must guide how we function: that we live within As Martin progressed in his professional life as a communications our means. Running counter to this are the persuasive mantras pumped designer the web of experiences compounded to create a matrix of out by mainstream media in support of the capitalist machine: growth at realisations that produced a watershed decision: to leave the world any cost. Paraphrasing Rees, Martin commented: of consumerist design behind in favour of sustainable design. As with ‘What he’s [Rees] suggesting is: you can’t hold both at the same time such experiences the negative aspects frequently become grist for a and feel comfortable. You have to negate one or mostly one in order to repurposed mill. It was from the world he left behind that he has gained feel emotionally at rest.’¹⁶ key insights that now form, in recalibrated ways, the bedrock of his For the most part, the majority of humankind has negated the modus vivendi. One cornerstone that is abundantly evident in his practice ecological world view which is why we have such an excellent view of our is the primacy of the still image. ‘Why do still images move us so much?’¹² unfolding demise. In some parts of the world the watershed, to focus on he asks. It is this compelling potency of the still image that Martin has this particular crucible, has disappeared.¹⁷ Tundra has replaced the snow Philippa on Cascade Saddle, Mt Aspiring National Park 2008. Photo Martin Hill

‘The alienated subject feels no responsibility for the objectified other 11 and attempts to find satisfaction through exploitative projects which, in fact, usually increase the sense of alienation.’²⁰ If we knew deeply that we are of the earth; that the earth was part of our self, it is believed that we could not help but act towards the earth in ways which reflect the care we show towards our most loved ones. A philosopher who has espoused such views and perhaps not so coincidentally was also an enthusiastic (mountain) climber was Arne Naess (1912–2009). The co-founder of deep ecology, Arne’s philosophies occupy the heart of the ecological movement for many people.²¹ His central thesis, in which there is an observable affinity between Martin’s beliefs and practice, posits: ‘The spirit of the deep ecology movement is to fit ourselves into the values and qualities of our watersheds and specific places (localisation) in long-range, sustainable ways.’²² In a similar vein, Martin states: fields and grassy vegetation has supplanted tundra. ‘You can’t make nature fit your requirements; it’s the other way Before turning to a discussion of the works in Watershed much will around.’²³ be gained by adding another layer to the constellation of experiences The work which best captures this viewpoint is the large photograph and philosophies that under girth and sustain Martin’s art practice. Both Solve for Pattern in which two squares and two circles which have Martin and Philippa are avid rock climbers who met on a climbing trip been sculpted out of snow occupy the middle ground. A trail of hare almost twenty years ago. Martin both climbs and makes art individually footprints beginning in the foreground and arcing around to the right is and with partner Philippa. It is in the act of climbing where precise the only trace of warm-blooded presence beneath the pointed peak of communication and interdependence are essential, and in the act Mt Aspiring. In one loose pairing on the right, one circle is positioned of making ephemeral sculptures in these wild places as a team, that beside one square. A proportional distance apart to the left, the square complementary skills are brought into play. The documentary of the has come to reside within the circle. By nesting the living patterns making of the works in the Watershed exhibition (7.5 minutes) is an of humankind in nature’s operating principles and design Martin and elegant testament to this cohesiveness. Philippa offer a viable way out of our current watershed. Cosmos, What is also of importance to draw out of these experiences, that another large photograph presents the same message in a different form. can truly be said to take place in largely untouched nature,¹⁸ is the Appearing to ripple and buckle like a twisting vortex, Cosmos depicts very awareness of nature enacting itself with such integrity and majesty. a visible nucleus of ice centrifugally surrounded and expanded by a Through climbing Martin and Philippa come into direct contact with multitude of circles extending outwards from this centre. tangible nature. By focussing on cyclical forms as represented by the circle, a central ‘You can’t not have an overview going to places like that. You see the motif of his earlier works, Martin is calling on humankind, especially in world in a different way.’¹⁹ the West, to desist from linear models of production and consumption. They have access to an overview of the larger scheme of things; the A critical dimension of his practice, Martin continues evocations of feeling of standing on one of the roofs of the world where atmospheric this in Watershed as evident in two photographic works of ephemeral systems assist the hydrologic system; where glaciated landforms cradle sculptures: Life Cycles (red beech leaves arranged in a circle, positioned tarns and watershed where water is born and travels downwards, on a rock outcrop overlooking a waterfall) and Alpine Ice Cycle (a semi- supporting alpine rainforests, snow tussock grasslands, herb fields and circular ice sculpture positioned vertically in an alpine tarn). clutches of native bird, insect and human life. It is our disconnect from With Watershed Martin introduces into his oeuvre, the human form such experiential awareness of our dependence on these interconnected in a way that recalls the Silueta Series (1973–1980) of Cuban American systems that many thinkers and artists, Martin among them, believe artist Ana Mendieta (1948–1985). Both artists deploy the human form is at the root of our cognitive dissonance. As philosopher David R. Loy (in sculpted presence or negative disassembled cast) to register (1947–) observes: simultaneous themes of displacement and embodiment. In the case Martin and Philippa making 2000 Shells, Whatipu Beach, Auckland NZ 1998. Photo Ralph Talmont

12 of Ana it evidences forced immigration from Cuba to the USA,²⁴ while it could be suggested that Martin is calling attention to our (perceived) ‘immigration’ from the earth. In any regard we are required to get our papers in order. Seven photographic works depicting seven human figures carved from ice or snow or built up from clumps of mossy earth are drawn together under the explicit title of ‘Guardian’, as in Watershed Guardian or Rainforest Guardian. The Guardians each stand in their specific domains, of which humankind is called upon to assume responsible caretaking. Thin Ice records the negative trace of a human form as the layers of ice begin to form over it, while Embodied could be described as exemplar of process as it shows both the human form cut from the ice and the human-shaped absence in the frozen water. In exploring the Guardian works it is perhaps useful to hold two thoughts in our minds: 1. There is no new water and 2. Human beings are 68% water. As environmental artist Alan Sonfist (1946–) notes: ‘We are part of nature; we have to include ourselves within the natural system.’²⁵ As a related caveat to the above and to the opening sentence of this With the Guardian photographs of molecular and ephemeral sculptures essay, in which Land Art artists working in the 1960s–1970s are described Martin has achieved this. He signals in the most direct way possible our as apprehending the earth as primarily ‘limitlessness’; this is not in embodiment in nature. fact the full story. A myriad of artists, among them Hans Haacke, Alan After so many years climbing in wild places, creating ephemeral Sonfist, Helen Mayer and Newton Harris, David Nash and Betsy Damon²⁸ sculptures out of the materials immediately to hand and photographing have worked consistently within a framework of the ‘limitedness’ of them, Martin and Philippa have attained well-developed competencies in the earth, but it was artists working in the tradition of mourning who nature. They know how to read the prevailing weather patterns, how long were (primarily) canonised.²⁹ For Martin the limitedness of the earth the light will last for, how materials like to be worked with and to respect, and attendant ecosystems is best encapsulated by the interweaving of absolutely, the forces of nature. This refined nature competency is evident in beauty and a finished image of high quality. With regard to the leverage the photographic work Water Course which, in addition to being a nod to the potential of beauty, a brief comparison between the works of Martin Hill ambulatory/photographic practice of English artist Richard Long (1945–), and Edward Burtynsky (1955–) may prove instructive. Both artists produce is also an ecological performance. As Martin described in our interview: high quality finished-image photographic works of landscape forms³⁰ ‘I walked that just with my feet, in mist actually, just sensing where the that engage with beauty. Beneath the visual beauty of Martin’s works low point would be. It was complete whiteout but I could tell where the the viewer is encouraged to approach and appreciate the metaphorical high ground was and where the low ground was.’²⁶ beauty of nature’s interconnected, cyclical systems as depicted through Two interconnected aspects of Martin’s practice worth exploring circles and more recently human-nature embodied forms. Edward on further are beauty and the quality of the finished image. Beauty the other hand describes his work as a ‘guilty pleasure.’³¹ The viewer is in aesthetic philosophy and art theory is beyond the scope of this enticed into the image by a fleeting beauty before being abruptly stung essay, however suffice to say it is largely absent from contemporary by a realisation that what is before them is actually destruction. It could critical appreciation and art historical discourse. The failure of the be said that Edward’s works circulate in the disconnect of postmodern modernist utopian project gave way, in the latter decades of the mourning, therein maintaining a discourse of alienation and futility. twentieth century, to what philosopher Jacques Rancière (1940–) Martin by contrast draws on the positive potentiality inherent in a has described as the mourning and repentance of postmodern beauty which the viewer can not only enjoy but draw on to galvanise a culture²⁷ in which beauty, positive relationships with nature and closer relationship with the true living beauty of our earth and all the even aspiration have come to be viewed as suspect. So what does interconnected systems of which we are a part. Beyond beauty, beyond it mean to engage with and indeed produce images of beauty within metaphor even, Martin regards the operating principles and design inherent an apparatus that spurns it? Another postmodern dictum may prove in nature and natural systems as providing humankind with a pre-existing useful: distrust master narratives. blueprint for making the vital turn required of us in our watershed moment. ENDNOTES 13 1 Arne Naess, ‘Self-Realisation: An Ecological Approach to Being in the World’ in 21 ‘The phrase deep ecology movement was first used by Naess at the Third World The Ecology of Wisdom: Writings by Arne Naess eds. Alan Drengson and Bill Devall, Future Research Conference, held in Bucharest in 1972.’ Alan Drengson, ‘Introduction: (Berkeley: Counterpoint, 2008) pp. 81–96, p. 82. The Life and work of Arne Naess: An Appreciative Overview’ in The Ecology of 2 A re-working of a claim by Amanda Boetzkes: ‘The limitlessness, and not the Wisdom: Writings by Arne Naess eds. Alan Drengson and Bill Devall (Berkeley: limitedness, of the earth was the basis of its [Land Art] radicality.’ Amanda Boetzkes, Counterpoint, 2008), p. 25. The Ethics of Earth Art (Minneapolis: University of Minnesota Press, 2010), p. 5. 22 Paraphrased by Alan Drengson, Ibid., p. 30. 3 Too numerable to mention. With regard to water facts and statistics I recommend: 23 Interview with Martin Hill and Philippa Jones 18.12.2013 http://blue-gold.weebly.com/water-facts.html (accessed 14.12.2013). 24 Ashley A, ‘Ana Mendieta’s Alma Sileuta en Fuego’, 2012. 4 ‘Human emissions of chlorofluorocarbons (CFCs) and halons (bromine-containing http://womenartandculture.blogspot.co.nz/2012/05/ana-mendietas-alma-silueta- gases) have occurred mainly in the Northern Hemisphere. About 90% have been en-fuego.html (accessed 16.12.2013). released in the latitudes corresponding to Europe, Russia, Japan, and North 25 Alan Sonfist, Nature: The End of Art: Environmental Landscapes (London: Thames America.’ http://www.unep.ch/ozone/faq-science.shtml (accessed 31.12.2013). and Hudson, 2004), p. 16. 5 Described in a number of recent books and films, including When the Rivers Run Dry: 26 Interview with Martin Hill and Philippa Jones 18.12.2013. Water—The Defining Crisis of the Twenty-first Century by Fred Pearce, Water Wars: 27 Jacques Rancière, The Politics of Aesthetics London: Continuum, 2006, p. 29. Privatization, Pollution and Profit by Vandana Shiva and films: Flow: For Love of 28 Arguably Hans Haacke has attained a fairly significant profile. His early works, Water (dir. Irena Salina), Blue Gold: World Water Wars (dir. Sam Bozzo). particularly the Condensation Cube (1963–1965) which replicates a hydrological 6 Sam Bozzo, Blue Gold: World Water Wars, 2008, 90 minutes. http://www.youtube. cycle inside a cube (also an example of proto-institutional critique) presents an com/watch?v=B1a3tjqQiBI&desktop_uri=%2Fwatch%3Fv%3DB1a3tjqQiBI&app= interesting relationship to the hydrologic functioning of water and watersheds desktop (accessed 12.12.2013). explored here. Tue Greenfort has paid homage to Haacke, incorporating the 7 http://papanek.org (accessed 15.12.2013). contemporary privatisation of water with Römerquelle Condensation Cube: After http://bfi.org/about-bucky (accessed 30.12.2013). Hans Haacke 1963–65 (2007). The ongoing water projects of Betsy Damon are 8 Richard Buckminster Fuller, quoted in ‘The anticipatory leader: Buckminster Fuller’s particularly noteworthy: http://www.keepersofthewaters.org/BetsyDamon2012.cfm principles for making the world work; For leaders striving to “make the world (accessed 16.12.2013). work for 100% of humanity,” there is no better model of leadership than that of 29 In particular Robert Smithson, Robert Morris, Michael Heizer whose large scale “comprehensive thinker” R. Buckminster Fuller’ Medard Gabel and Jim Walker, invasive earthworks frequently had more to do with proto-institutional critique The Futurist 40, 2006, pp. 39–44, p. 40. (escaping the art institution) and, despite the magnitude of their physical works, 9 Ibid., p. 42. the ‘immateriality’ of the art work vis-à-vis the status of the saleable object 10 Arosha Gamage and Richard Hyde, ‘A model based on Biomimicry to enhance (existing via photograph, text and cartography – then novel). ecologically sustainable design’, Architectural Science Review 55:3, 2012, 30 To qualify this: Martin first creates ephemeral sculptures in ‘wild’ nature which he pp. 224– 235, p. 224. then photographs, whereas Edward tends to photograph ‘manufactured’ landscapes 11 http://www.theblueeconomy.org/blue/Home.html and and factory exterior/interiors. http://www.youtube.com/watch?v=2WfS- NAkQhw#t=3432 (accessed 11.12.2013). 31 Edward Burtynsky in ‘My wish: Manufactured landscapes and green education’, 12 Interview with Martin Hill and Philippa Jones 18.12.2013. TED talk, posted October 2006. http://www.ted.com/talks/edward_burtynsky_on_ 13 Ibid. manufactured_landscapes.html (accessed 29.12.2013). 14 William Rees, ‘What’s blocking sustainability? Human nature, cognition, and denial,’ Sustainability: Science, Practice, & Policy 6:2, 2010, pp. 13–25, p. 13. 15 Interview with Martin Hill and Philippa Jones 18.12.2013. 16 Ibid. 17 Karl Burkart, ‘Top 7 disappearing glaciers’, http://www.mnn.com/green-tech/ research-innovations/blogs/top-7-disappearing-glaciers# (accessed 31.12.2013). 18 The works exhibited in Watershed were made and photographed in and around Mt Aspiring National Park which is one of the four national parks that make up the UNESCO Te Wāhipounamu World Heritage Park in the south west of the South Island of New Zealand. 19 Interview with Martin Hill and Philippa Jones 18.12.2013. 20 David R. Loy, ‘Loving the World as Our Own Body: The Nondualist Ethics of Taoism, Buddhism and Deep Ecology,’ Worldviews: Environment, Culture, Religion 1, 1997, pp. 249–276, p. 250. 14 Watershed: the eternal flow An interview with Martin Hill by Philippa Jones I work in nature because we are nature. we now face. The water that falls on the Saddle can flow in either 15 My materials come from the earth to which they return. direction. However, unlike the water we can choose our future path. Learning to live by nature’s design is our only hope for the future. MAKING THE WATERSHED GUARDIAN For two decades I have been making ephemeral sculptures using natural Though I pre-visualise a sculpture, the idea is often modified during materials found in the landscape. the process. It involves going into remote places where I feel good. I see and feel To make Watershed Guardian we began by pouring water into the world has an order in the quietness of mountains, forests, lakesides, a shape hollowed out in the snow and lined with a tarpaulin. rivers or the sea. Here nature takes its course without visible human Overnight it froze, however a storm came through early in the interference. morning and it was completely buried and lost under a thick blanket A stream flowing to the sea passes through human systems along its of snow. way. The water is the same water that has always been on earth. There We spent some time trying to relocate it. Chopping the snow is no new water. The handful I scoop up and drink from these pristine with ice axes in a grid search we finally uncovered a corner of the sources carries a history of the world in its molecules. grey tarpaulin. Unfortunately the two metres long piece of ice I think about this eternal flow as I balance a flat rock and divert the broke in half as we carefully lifted it out. So we modified the idea. water to a new path. It signifies to me a rearrangement of the world in We stood it up on a base of fresh snow to give it height. order to see it more clearly. We were working in a whiteout, which worsened into a storm. Under a dull overcast sky, when the light is fading and the scene is Sheltering in the chalet I knew that not only would our footprints be sombre, these conditions present the ideal atmosphere that I am after. covered, but that a soft coating of snow on the guardian figure would When the fabrication of the artwork is complete, I can relax and check strikingly transform it. Nature added to the outcome by integrating the results. In the dusk, when the images in the camera’s viewer have it into the landscape. the qualities I had pre-visualised—then I am happy. As the storm began to clear, the sculpture became momentarily backlit by the sun, illuminating the beauty of the transparency of WATERSHED EXPERIENCES the ice. I’m interested in responding to these opportunities and the Like many people, I have experienced a number of watersheds in my life. constant processes of change that occur in nature. One occurred in 1992, after 30 years working as a designer around the world, when I came to the conclusion that the world does not have COLLABORATING WITH PHILIPPA environmental problems—we have systemic design problems that we Sculpture-making is a really enjoyable activity, although often hard have created for ourselves. I think these problems can only be rectified physical work. Having worked together with Philippa for so long we by a change in human consciousness and systems redesign. have developed a good understanding between us and have a lot of My recent watershed came in 2012, when the United Nations shared experience. It’s so much a part of our lifestyle it’s actually quite Climate Summit proved utterly ineffective in producing any meaningful hard to explain. We didn’t decide to work together so closely, it just international agreement and action towards mitigating the onslaught of came about naturally, both being creative individuals. human induced climate change. Often climbing trips take us to remote and interesting places from Around the same time I was looking for a new direction in my work, which sculpture-making just naturally follows. On other occasions which also coincided with Philippa and I being awarded the Kenneth specific journeys are planned to create works, some together and Myer artist’s residency at the alpine Whare Kea Chalet on the Albert Burn sometimes alone. Saddle in New Zealand. As climbers and environmental artists this was Though Philippa and I are different in many ways we have comple a great opportunity for us to create a new body of work that attempts mentary skills. We work together intuitively; Philippa recognises ideas to deal with the apparent disconnect between humanity and the natural immediately and has very good practical skills. Her resourcefulness is systems on which we rely. invaluable, while I am concerned about contextualising the work. At The Albert Burn Saddle is an interesting landform for it creates a the same time we are working with nature, which provides processes watershed between two river systems. It is a metaphor for the choices of eternal change. OPPOSITE: Martin and Philippa stand on the Albert Burn Saddle overlooking the Kitchener Cirque, Mt Aspiring as a storm clears. Photo Martin Hill

16 BIOGRAPHICAL NOTES landscape and photographing them, leaving these constructions to be My childhood heroes were explorers, mountaineers and naturalists. reabsorbed back into the environment from which they came. I showed Their tales of the jungle, deserts and tropical islands, of oceans with my photographs to a few people, who liked them. I also discovered a exotic species and stories of foreign cultures inspired me. North Wales whole school of environmental artists, in particular Richard Long, whose was where I first encountered mountains, although in reality they were nature walks and minimalist sculptures I much admired. really just hills. I was awestruck and remember staring for ages at I met Philippa through rock climbing and this changed my life totally. barren walls of rock, in my mind tracing route after route up the craggy Within a few months we were off to America for a six-week trip to various faces, to get to the top of a rocky peak called Tryfan. wilderness climbing destinations, including Yosemite—a location that we In 1964 I discovered rock climbing and this changed my life. I have had only dreamed of. This trip with Philippa was life as it could be, and never found anything to compare with the joy and exhilaration of being from now on, was going to be. in the mountains, of mastering the necessary skills and staying in control Returning to New Zealand we threw ourselves into producing sculptures while climbing vertical terrains. Unlike art school, which was much in the landscape and photographing them. I published these artworks as more challenging—probably because I was just not mature enough to cards, by borrowing funds to print a run of 36,000, each carrying the same master the required expertise. If it had been later I could have studied message ‘Sustainability by Design’. These images were very successful and philosophy of art and no doubt made more of my art skills. Instead I was were published eventually in London for the world market. trained in the specialist field of graphic design and visual communication. In 1995 I developed the concept of the Fine Line Project, which consists I embraced design philosophy happily, understanding how imagery could of 12 ephemeral environmental sculptures on various prominent high be used to reach people’s hearts and minds. I turned a blind eye to many altitude sites, which will symbolically link together in a line that will of the ills in advertising and pursued my adventures at the weekends, encircle the earth. This 19 year global art/science project is nearing when I rushed to the crags or the mountains. My satisfaction and completion. It has been, and is, the journey of our life. acknowledgement of my true values came at weekends on increasingly I think art is a form of communication. extreme climbs. The artist’s role is to illuminate. The biggest challenge in my work My obsession with adventure took me overland from London to is to achieve an effective level of communication by using visual Kathmandu in 1967, where I walked to the Mt Everest region and back. metaphors about the beauty of nature’s design and the precarious Eventually through work opportunities I relocated to Nairobi, where I issues inherent within our ecological systems. My art is my language, and I learned about the ecology of wild animals in their natural environment and feel compelled to express my strong belief: that humans are at a watershed, the growing threat to their ecology from our expanding human population. where we now have to redesign our operating principles to align with In 1975 I went to live in New Zealand and eventually created a graphic natural systems, or head on down the dangerous path of significant peril. design business of my own. Although I got some satisfaction from solving clients’ communication problems and even winning awards, I began to / Martin Hill and Philippa Jones, December 2013 / see clearly that the world’s environmental problems were mostly the result of faulty design. — I began reading widely on ecological design, including Buckminster Martin Hill was born in 1946 in London, UK where he was educated in Fuller’s Critical Path 1981, and Our Common Future, the report of the art and design. Through multiple forms of publishing including a book World Commission on Environment and Development published in 1987. in 2007 Earth to Earth, Sculpture inspired by nature’s design, Hill’s In 1991 an opportunity came up to speak at the first eco design environmental sculpture photographs have reached a wide audience conference at RMIT in Melbourne. The keynote speaker was my old hero internationally. Victor Papanek whose book Design for the Real World: Human Ecology and He has had solo exhibitions in Japan, Sweden and New Zealand, and Social Change had resonated so strongly with me, when published in 1972. has created numerous privately commissioned permanent sculptures as This was just the right time to reassess my life and what I was about. well as commissioned projects. The Fine Line Project in collaboration with I sought out wild places; I walked, made photographs, thought, wrote Philippa Jones is a work in progress. notes and read books. Though the answers did not come easily or Delicate Canvas, a documentary film of his working practice was immediately, I first began, at the age of 48, by returning to rock climbing. made in 2011. He lives and works with Philippa Jones in Wanaka, in the I also began to make sculptures by arranging natural elements in the Southern Alps, New Zealand. Watershed is his first exhibition in Australia. 1717 18 19

Cold Facts on Bottled Water 2012 Ice cast in a single-serve plastic water bottle was relabelled incorporating factual information about the effects of the worldwide consumption of bottled water. This is a play on the idea that while messages abound encouraging unsustainable consumption the facts speak for themselves. Bottled water is an example of an unnecessary consumer product system that destroys living systems. 20 Rising or Falling 2013

The world is turned upside down. These issues are not isolated problems they are all interconnected and can only be solved by understanding the relationships between them and approaching them holistically. Dysfunctional interconnected systems lead to failure and collapse. 21

Flow Lines 2013 The surface tension of the water trickling down a rockface held these fallen leaves in place and the work is intended to evoke an idea of continuity. Water flows through everything, everything flows through water. 22

Watershed Guardian 2012 To make ice we froze water overnight in a tarpaulin. Its fragility reflects that of the climate and the seriousness of the water crisis. Humans are now responsible for guardianship of all watersheds. Increased world populations require more water than is available in many places. 23

Ice Guardian 2012 This triangular sheet of ice references the elegant shape of Mt Aspiring. The real figure behind it presents a human from nature’s perspective. The Earth’s ice keeps the climate in a condition suitable for human life. Anthropogenic climate change now means humans are responsible for guarding the ice. 24

Wetland Guardian 2012 This hidden wetland is formed by natural springs in the Matukituki River valley and was accessed by canoe. Wetlands need our protection. Wetland habitats support biodiversity that purifies water for other life forms including humans. 25

Rainforest Guardian 2013 In the old native beech forest of the East Matukituki river valley the plentiful mosses provided the material to transform a moss covered tree stump into a guardian figure. Forests are the lungs of the Earth and support biodiversity. Deforestation in parts of the world has helped reduce biodiversity to levels below the planetary boundary considered safe by science. 26

Alpine Ice Cycle 2013 Placed upright in a tarn the ice sculpture is reflected in the water to complete the circle. Water transforming into ice and melting is one of the great stories of the Earth being told here. At altitude ice is a storehouse of water for life below. Climate change is breaking the ice cycle in some places and affecting water supply. 27

Embodied 2012 Human beings are mostly water. Creating a figure out of frozen water is a manifestation of this reality. Embodied water is the term used to describe the amount of water used throughout a person or product’s life cycle. 28

Cloud Guardian 2013 A shaped rock figure contemplates Lake Wanaka and its surrounding mountains, standing witness to the clouds and rain. Clouds are an integral part of the water cycle delivering water from the sea and the lowland back to the watersheds in the mountains. 29

Reflection 2013 A shaped rock figure is reflected in an alpine tarn after rain. This is mankind looking inward to find nature within itself. Sun, air, cloud, water, rock, earth and plants—the Earth’s natural elements on which life relies. 30

Thin Ice 2013 The shape of a human figure was drawn from the ice by pouring warm water onto the thin surface. The human experiment is now on thin ice. 31

River Being 2013 Stream of Time 2013 How we see the world depends on our point of view. I recognised this as a A rock figure balanced in the Albert Burn Stream—for a brief moment each of us figure ‘drawn’ by the falling waters of the Albert Burn Stream. stands in the endless stream of time. We are water, water is us, no water no life. Human evolution compared to the immense age of the Earth is a very short time. 32

Life Cycles 2013 Red beech trees drop leaves as part of their life cycle. This work creates order from chaos and is a narrative on the continual progression towards entropy. Everything is evolving from or devolving towards nothingness. Life flows in cycles. 33

The Sky is Broken 2012 Things are not always what they seem. These are not holes in the sky but patterns on the frozen surface of a lake, seen from a cliff above. Carbon dioxide in the Earth’s atmosphere has risen to 400 parts per million. The safe considered level is 350 parts per million. 34

Cosmos 2013 A natural ice formation on a frozen tarn that soon melted with the warmth of the sun. The term cosmos can be defined as the ordered system of all that exists from outer space down to the atomic scale. 35

Liquidity 2013 Blown bubbles float briefly above Lake Wanaka. By chance three bubbles join together to form the shape of a water molecule H2O—the most precious substance on Earth. This quote comes from the World Economic Forum—Global Agenda, 2009. 36

Spiraling Water Footprints 2012 Fresh snow provided a smooth soft surface upon which we walked a spiral path leaving a line of footprints going in—and out—of the spiral. Each human has a water footprint measured by the volume they are responsible for using due to their lifestyle and consumption patterns. In some areas of the world human water footprints are spiraling out of control. 37

Water Course 2012 A line made by digging a path following the course of the Albert Burn stream from its source. This references the work of Richard Long. Civilisation developed along the world’s watercourses. Water defines our world. 38

Solve for Pattern 2013 The circle represents nature, the square represents human culture. Culture is required to adapt to nature. Solving for pattern results in solutions that increase balance and harmony and improve the health of the whole system. 39

Interconnected 2012 A sudden storm deposited 30 centimetres of new snow that allowed this improbable sculpture to be made by adapting the remains of an earlier work (Solve for Pattern). The earth’s interconnected systems in dynamic balance with each other form one integrated whole system. 40

Burning Issues 2013 A video installation. Duration: 2 minutes. The world’s scientists have repeatedly warned the people of the world that if we do not alter our operating principles, the life support systems of Earth on which we rely will be compromised beyond repair. 41

Mountain Guardian 2012 Surveying this pristine wilderness from an altitude of 2000 metres in Mt Aspiring National Park we felt insignificant but the reality is the combined impact of seven billion of us on the world is now even affecting these mountains. Mountains are the source of the world’s greatest rivers that enable human populations to feed themselves. Protecting mountain water sources protects life. 42 Life on the Edge 2013

A quest for balance is embodied in a rock sphere built on the very edge of a bluff shared by alpine plants. Life creates the conditions conducive to life. Interrupting natural processes puts life on the edge. 43

Waterfall Guardian 2012 Winter conditions transform waterfalls into sculpted forms. Constantly changing alpine conditions remind us what we are made of and how fragile we are. Humans are 68% water. Protecting water protects us. 44

We Walk on Water 2013 Wading into the wetland to install the 2.1 metre figure reminded me of our human origin in water, especially when I was approached by a large native eel. Transported and re-installed in McClelland Gallery. Water holds civilization afloat, without adequate safe water civilization sinks. It is almost impossible to overestimate the significance of water to life. 45

Watershed 2013 The act of using clay to spell out Watershed is intended to symbolise the urgent need to rethink the connection between people and the earth from which we are made. Humanity is at a watershed in its relationship to natural systems. 46

Watershed Experience 2013 Documentary of the making of some of the works in the Watershed project using stills and video by Martin Hill and Philippa Jones. Duration: 7.5 minutes. 47 48 Cold Facts on Bottled Water 2012 Rainforest Guardian 2013 cast ice, inkjet printed label decayed tree stump, moss LIST OF WORKS pigment dye, inkjet print on pigment dye, inkjet print on Hahnemuhle photo rag paper Hahnemuhle photo rag paper All works are courtesy of the image: 774 × 1160 mm image: 774 × 1160 mm artist. Height precedes width, paper: 914 × 1280 mm paper: 914 × 1280 mm in millimetres. AP AP Rising or Falling 2013 Alpine Ice Cycle 2013 waterfall, text ice pigment dye, inkjet print on pigment dye, inkjet print on Hahnemuhle photo rag paper Hahnemuhle photo rag paper image: 1160 × 774 mm image: 774 × 1160 mm paper: 1300 × 894 mm paper: 914 × 1280 mm AP AP Flow Lines 2013 Embodied 2012 beech leaves, rock, waterfall ice pigment dye, inkjet print on pigment dye, inkjet print on Hahnemuhle photo rag paper Hahnemuhle photo rag paper image: 774 × 1160 mm image: 774 × 1160 mm paper: 914 × 1280 mm paper: 914 × 1280 mm AP AP Watershed Guardian 2012 Cloud Guardian 2013 cast ice, snow Schist rock pigment dye, inkjet print on pigment dye, inkjet print on Hahnemuhle photo rag paper Hahnemuhle photo rag paper image: 774 × 1160 mm image: 774 × 1160 mm paper: 914 × 1280 mm paper: 914 × 1280 mm AP AP Ice Guardian 2012 Reflection 2013 cast ice, figure Schist rock pigment dye, inkjet print on pigment dye, inkjet print on Hahnemuhle photo rag paper Hahnemuhle photo rag paper image: 774 × 1160 mm image: 774 × 1160 mm paper: 914 × 1280 mm paper: 914 × 1280 mm AP AP Wetland Guardian 2012 Thin Ice 2013 Raupo stems ice, warm water pigment dye, inkjet print on pigment dye, inkjet print on Hahnemuhle photo rag paper Hahnemuhle photo rag paper image: 774 × 1160 mm image: 1160 × 774 mm paper: 914 × 1280 mm paper: 1300 × 894 mm AP AP River Being 2013 Spiraling Water Footprints 2012 Life on the Edge 2013 49 Albert Burn Stream fresh snow dry stacked schist rock (commissioned) pigment dye, inkjet print on pigment dye, inkjet print on pigment dye, inkjet print on Hahnemuhle photo rag paper Hahnemuhle photo rag paper Hahnemuhle photo rag paper image: 1160 × 774 mm image: 774 × 1160 mm image: 1160 × 774 mm paper: 1300 × 894 mm paper: 914 × 1280 mm paper: 1300 × 894 mm AP AP AP Stream of Time 2013 Water Course 2012 Waterfall Guardian 2012 rock, Albert Burn Stream path dug in snow pigment dye, inkjet print on pigment dye, inkjet print on pigment dye, inkjet print on Hahnemuhle photo rag paper Hahnemuhle photo rag paper Hahnemuhle photo rag paper image: 774 × 1160 mm image: 1160 × 774 mm image: 774 × 1160 mm paper: 914 × 1280 mm paper: 1300 × 894 mm paper: 914 × 1280 mm AP AP AP We Walk on Water 2013 Life Cycles 2013 Solve For Pattern 2013 Raupo stems, cable ties, Beech leaves, rock, stream snow, animal tracks steel, water pigment dye, inkjet print on pigment dye, inkjet print on 2000 × 1200 × 700 mm Hahnemuhle photo rag paper Hahnemuhle photo rag paper Watershed 2013 image: 774 × 1160 mm image: 774 × 1160 mm clay, water paper: 914 × 1280 mm paper: 914 × 1280 mm Installation size variable AP AP Watershed Experience 2013 The Sky Is Broken 2012 Interconnected 2012 duration 7.5 minutes frozen lake snow HD video pigment dye, inkjet print on pigment dye, inkjet print on synopsis: Documentary of the Hahnemuhle photo rag paper Hahnemuhle photo rag paper experience making some of the image: 774 × 1160 mm image: 774 × 1160 mm works in the Watershed exhibition. paper: 914 × 1280 mm paper: 914 × 1280 mm AP AP Cosmos 2013 Burning Issues 2013 ice formation duration 2 minutes pigment dye, inkjet print on HD video using still images Hahnemuhle photo rag paper synopsis: A sculpture of a figure was image: 774 × 1160 mm made from dry snow grass and installed paper: 914 × 1280 mm in an alpine tarn at dusk. 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This exhibition and catalogue are generously supported by the Louise and Martyn Myer Foundation.