旧物重生太赞了~

乌木 2021-11-26 0 760

环境污染现已成为全球难题。你知道吗？我们随手扔掉的塑料瓶埋在土里几十年甚至上百年也不会融掉，会对环境造成很大污染。每个人对「环保」或「资源重用、回收、循环再造」都有各自的诠释方式，今天小编为大家带来的是环保艺术家Garth Britzman的三件极具创意的装置艺术作品。艺术家用作品诠释自己内心的想法和观点并传达给大家，“保护环境人人有责”，“保护环境从我做起”。

非常感谢 Garth Britzman 予publicspacedesign 分享以下内容。更多关于他们：garthbritzman.com

环保装置艺术作品“Mississippi Gyre”

全球几乎每一个主要水体都有微塑料污染的记录，这是处理不当的塑料制品的副作用。大量塑料碎片漂浮在太平洋上，这是五大海洋环流之一，影响海洋生物并污染海水——对大多数消费者来说，这似乎是一个遥远的问题。在密西西比州的环流（Mississippi Gyre）艺术家Garth Britzman通过精心构造的塑料波浪来表达我们对一次性塑料痴迷的可怕后果。

密西西比州的环流位于新圣路易斯水族馆的非营利性保护和教育中心内。该项目位于美国两大重要河流密苏里河和密西西比河汇合处附近，委托设计的艺术作品将展示具有解释性的图表，展示有关塑料污染的统计数据，以及游客在日常生活中可以做些什么来减少废物流。5000个可回收的塑料瓶可持续地从现有的回收流中获得，从而创造出这种沉浸式的雕塑浪潮。

密西西比环流是由全球每0.5秒购买的瓶子数量产生的。

Microplastic pollution has been documented in nearly every major body of water around the globe, a side effect of ill-disposed plastic goods. An expansive collection of plastic fragments floats in the Pacific Ocean, one of five major ocean gyres, affecting marine life and poisoning seawater - a seemingly distant problem for most consumers. Mississippi Gyre presents this terrifying consequence of our single-use plastic obsession expressed through a meticulously constructed wave of plastic.
Mississippi Gyre is situated within the non-profit Conservation and Education Center at the new St. Louis Aquarium. Located near the confluence of two critical American waterways: the Missouri and Mississippi River, the commissioned artwork will feature interpretive graphics featuring statistics about plastic pollution and what visitors can do in their everyday lives to reduce their waste stream. Five thousand recycled plastic bottles were sustainably sourced from existing recycling streams to create this immersive sculptural wave.
Mississippi Gyre is created from the number of bottles purchased globally every .5 seconds.

环保装置艺术作品“(POP)culture”

这个项目由Britzman率领University ofNebraska的大学学生，花费300多个小时的工作量。，用了1581支保特瓶打造一片充满创意、色彩、设计、环保的遮棚，在空保特瓶内加进了调色水，让每一个瓶子底部看起来就像小叶子、小花瓣般成为遮阳的绿意，为炎热的夏天带来一阵阵凉爽的气息。

This installation was designed to occupy a parking spot for an international annual event called PARK(ing) Day. The fabrication involved 26 people and over 300 hours of work. This project sought to challenge the way in which we inhabit urban contexts. (POP)culture questions the behavior that plagues those locked in a high speed lifestyle insensible to the ramifications of their actions. Using only recycled materials, (POP)culture is an oasis within the noisy context of urban infrastructure. Defined by the ubiquitous paint stripes that frame our means of transportation, this project temporarily re-imagines a parking space as a park. One thousand five hundred and eighty one 20 ounce soda bottles create a canopy under which discussions of urban density, sustainability, and consumerism transpire.
The deliberate positioning of the bottom surface of the bottles encourages intimate encounters with the bottles. At eye level, the undulating surface of the bottles suggests an endless landscape of beautifully colored waste. A bottle, when placed among thousands of copies, articulates the magnitude of contemporary consumptive lifestyles.

环保装置艺术作品“EcoDome”

艺术家Garth Britzman与内布拉斯加州博览会合作创建了一个临时装置艺术作品，以庆祝博览会在实现“零浪费”的过程中在可持续性实践方面取得的成就。互动和沉浸式的圆顶有助于让参观者感受展会上的回收规模。圆顶的设计是为了在11天的活动中不断演变，因为在活动期间从回收容器中收集了超过12,000个瓶，然后再将其连接到圆顶上。