The edge of the sea is a strange and beautiful place. All through the long history of Earth it has been an area of unrest where waves have broken heavily against the land, where the tides have pressed forward… Only the most hardy and adaptable can survive in a region so mutable, yet the area between the tide lines is crowded with \[sea life\]. In this difficult world of the shore, life displays its enormous toughness and vitality…—Rachel Carson1 These methods are related to the process of making tapa and amate, but are significantly different from the traditional pounded- bark techniques from the Polynesian islands and Mexico. After cooking the fiber, I prepare it by selectively opening parts of the bark strips extensively by hand to help shape it into the forms I design for a given piece. Sometimes I hand beat the fiber into pulp and cast it directly on two- and three-dimensional forms. I work on the surfaces to build up dimensional features with specialized techniques, and later construct the dried sections into sculptural pieces and installation art. I prefer working with bark fiber partly because it offers great structural adaptability. Kozo fiber is my favorite for casting because of its versatility, strength, and beauty. Working sculpturally with the water themes, I have found I can shape and layer translucent kozo castings to convey movement, currents, and underwater environments. I also developed a hand pigmenting process that uses a staged evaporation of the pigmented water, allowing the fiber to form special surface effects. The process of working directly with bark fiber, using non-sheet-forming methods, allows efficient studio practices which use less water, equipment, and space. In recent years my primary focus on environmentally related artwork developed from experiences with the natural places I know best. I live in Colorado where we have frequent periods of drought, which greatly affect our mountain forests, along with the resulting prevalence of fire and floods. Several years ago I witnessed a major flood where I live along the foothills of the Rockies. This led me to explore water issues in the West. Instead of working from a purely personal response, I seek out the latest scientific research related to the issues. This in-depth exploration informs and inspires the art, as I experiment with how to translate exciting, new understandings into intriguing, visual forms. Through the art, I try to draw people into seeing the issues in a fresh way, to make meaningful new connections, inspire action, and hopefully relieve the sense of overwhelming fear many people experience when exposed to challenging information about climate change. Digging deeply into the science, I correspond and meet with experts in the field, to find unique vantage points within the research that I can work with as an artist. This exploration first came to fruition in a series of art exhibitions about the effects of climate change, drought, and forest ecology that I presented in gallery settings, at the local natural history museum, and through public talks and events.2 At these places I gave away educational materials about drought and Western forest insect populations, along with a tiny handmade book I created that told the drought/forest story. One of the scientists with whom I consulted included my art-exhibition approach in a slide talk, that he delivered at an international climate-change conference in New Zealand, in which he discussed effective ways to inform people about climate chaos. Outside the Western region I live in, I also have life-long connections to the ocean. A few years ago, I was kayaking in the Pacific Northwest and found myself paddling into the upper canopy of an underwater forest of bull kelp. I discovered how much there was for me to learn about life in our oceans. I became particularly interested in seaweeds—those amazing, marine life forms that are so often overlooked, and yet vital to life on our planet.3 For instance, I found out that kelp forests, together with the other seaweed and phytoplankton, take in carbon dioxide and produce oxygen. They are responsible for creating fifty to eighty percent of the earth's oxygen. This interest led to a new series of exhibits about ocean ecology and how sea life is affected by climate change and other environmental issues. As terrestrial beings, we seldom, if ever, see the seaweeds in their underwater environments, where they dance with the tidal currents and reach for the light to photosynthesize their own energy. Researching seaweed led me into the tide pools and the marine life of the intertidal zone where the seaweeds live. Surprisingly diverse in color, texture, and form, the seaweeds inspire close observation in order to appreciate their beauty and efficient design. They help provide the oxygen we breathe, and offer sustenance and sanctuary for many organisms in the oceanic web of life. Seaweeds are affected by many related, complex environmental issues such as invasive species, changes in ocean upwellings, ocean acidification, and the shifting balances in the oceanic food chain, all related to global warming. My fascination turned into an extensive period of research and experimentation in the studio. Camped on the coast of Big Sur in California, where we worked knee-deep in the intertidal zone, I was part of a field research group learning about seaweed, led by Dr. Diatoms, detail of three elements from a large-scale wall installation, 2016, 60 x 102 x 1 inches, kozo bark fiber, aqueous-dispersed pigments. summer 2018 - 27 Kathy Ann Miller, a well-known seaweed scientist from UC Berkeley. That experience led to other adventures, such as meetings with marine biologists and seaweed experts at several inspiring places, marine biologists and seaweed experts at several inspiring places, including Stanford University's Hopkins Marine Station, the coast including Stanford University's Hopkins Marine Station, the coast of Oregon, and the San Juan islands in Washington State. Taking of Oregon, and the San Juan islands in Washington State. Taking an exploratory trip across the Atlantic to Ireland, I learned about the an exploratory trip across the Atlantic to Ireland, I learned about the country's long traditions of harvesting, cooking, and studying seaweeds. country's long traditions of harvesting, cooking, and studying seaweeds. On the western coast, I visited a seaweed bath house that has On the western coast, I visited a seaweed bath house that has operated since the Edwardian era. With local help, I tracked down operated since the Edwardian era. With local help, I tracked down sixth-generation seaweed harvesters in their shallow currach boats sixth-generation seaweed harvesters in their shallow currach boats along tiny island coasts. I visited the oldest seaweed-processing factory along tiny island coasts. I visited the oldest seaweed-processing factory in Ireland. At the University of Galway's seaweed research station in Ireland. At the University of Galway's seaweed research station I learned about open ocean cultivation of seaweeds. I met chefs I learned about open ocean cultivation of seaweeds. I met chefs and people running edible seaweed companies, and learned a lot and people running edible seaweed companies, and learned a lot about the health benefits of seaweed, sampling a wide variety, both about the health benefits of seaweed, sampling a wide variety, both for culinary and artistic use. for culinary and artistic use. Exploring seaweed as an art material called for inventing some Exploring seaweed as an art material called for inventing some processes, informed by my papermaking knowledge and experiences. processes, informed by my papermaking knowledge and experiences. This led me to some wild experiments with minerals, salinity This led me to some wild experiments with minerals, salinity levels, gels, and dramatic shrinkage rates! Each species had its particular levels, gels, and dramatic shrinkage rates! Each species had its particular requirements. I learned that combining a layer of bark fiber requirements. I learned that combining a layer of bark fiber with certain seaweeds helped to stabilize the shrinkage, producing with certain seaweeds helped to stabilize the shrinkage, producing interesting results. interesting results. I also found that I could work sculpturally with kozo bark fiber, I also found that I could work sculpturally with kozo bark fiber, not only producing fluid forms that resemble different kinds not only producing fluid forms that resemble different kinds of seaweeds, but also evoking the motion of tidal currents. Sea Forest of seaweeds, but also evoking the motion of tidal currents. Sea Forest (2016) is a twelve-foot-high installation wall piece made of kozo (2016) is a twelve-foot-high installation wall piece made of kozo bark fiber that recalls that pivotal moment for me years ago when I bark fiber that recalls that pivotal moment for me years ago when I was kayaking through the floating kelp bed in the Pacific Northwest. was kayaking through the floating kelp bed in the Pacific Northwest. In seeking to respond to the ongoing challenges to ocean ecology, In seeking to respond to the ongoing challenges to ocean ecology, I created a large solo exhibition called "Holdfast: Seaweeds in I created a large solo exhibition called "Holdfast: Seaweeds in a Time of Oceanic Change" for the Dairy Art Center in Boulder, a Time of Oceanic Change" for the Dairy Art Center in Boulder, Colorado, in 2016. A holdfast is the anatomical name for the strong Colorado, in 2016. A holdfast is the anatomical name for the strong anchor-like structure which fastens seaweed to rocks on the ocean anchor-like structure which fastens seaweed to rocks on the ocean floor. The name offers a powerful metaphor meant to inspire our floor. The name offers a powerful metaphor meant to inspire our personal and collective responses to the turbulence and volatility of personal and collective responses to the turbulence and volatility of a changing world. "Hold fast to what is important. Stay flexible and a changing world. "Hold fast to what is important. Stay flexible and buoyant, even in the heaviest of storms and tidal changes."4 buoyant, even in the heaviest of storms and tidal changes."4 As part of "Holdfast," I created a wall of cast kozo shapes As part of "Holdfast," I created a wall of cast kozo shapes called Diatoms. Diatoms are beautiful forms you can see when you called Diatoms. Diatoms are beautiful forms you can see when you look at phytoplankton in seawater through a microscope. Often look at phytoplankton in seawater through a microscope. Often when I am seeking to understand something deeply, I study when I am seeking to understand something deeply, I study its smallest elements. Diatoms references the diminishing its smallest elements. Diatoms references the diminishing production of phytoplankton—one of the most critical challenges to production of phytoplankton—one of the most critical challenges to ocean ecology today. ocean ecology today. For the exhibition, I also looked at seaweeds from the macro For the exhibition, I also looked at seaweeds from the macro level, focusing on the role of boats in conveying seaweed (along with level, focusing on the role of boats in conveying seaweed (along with unwanted invasive species sometimes found in ballast water or on unwanted invasive species sometimes found in ballast water or on ship hulls). Large-scale pieces included Sea Tangle—a trio of floating ship hulls). Large-scale pieces included Sea Tangle—a trio of floating cast-paper boats filled with coils of dried kelp hovering near the ceiling, cast-paper boats filled with coils of dried kelp hovering near the ceiling, casting shadows. Nearby, the floor was spread with sand around casting shadows. Nearby, the floor was spread with sand around The Harvest, a large cast-paper boat, filled with dried seaweed and an The Harvest, a large cast-paper boat, filled with dried seaweed and an antique collecting basket. antique collecting basket. For Kelp Bed Vision, another installation piece in "Holdfast," I For Kelp Bed Vision, another installation piece in "Holdfast," I brought a sixteen-foot ocean kayak into my studio to cast in paper in brought a sixteen-foot ocean kayak into my studio to cast in paper in three solid sections. This took several weeks to finish and assemble. three solid sections. This took several weeks to finish and assemble. The technical challenges of this project were many. The paper kayak The technical challenges of this project were many. The paper kayak was mounted on the exhibition wall, and a whole-wall video was was mounted on the exhibition wall, and a whole-wall video was projected on top that showed a close-up underwater scene of giant projected on top that showed a close-up underwater scene of giant kelp. The piece was inspired by the underwater video footage captured kelp. The piece was inspired by the underwater video footage captured by kayaking through a large offshore bed of giant kelp near by kayaking through a large offshore bed of giant kelp near Monterey, California. My photographer friend filmed alongside me Monterey, California. My photographer friend filmed alongside me as I paddled through a tangle of seaweed, resulting in the video used as I paddled through a tangle of seaweed, resulting in the video used for the art piece.5 for the art piece.5 By offering a rich, sensory environment within "Holdfast," I By offering a rich, sensory environment within "Holdfast," I sought to enhance both an aesthetic and environmental awakening for the viewer. I filled the galleries with sounds of the ocean, and visiting sought to enhance both an aesthetic and environmental awakening for the viewer. I filled the galleries with sounds of the ocean, and visiting seaweed scientists flew in live samples of seaweeds for opening night. seaweed scientists flew in live samples of seaweeds for opening night. I displayed black-and-white photographs that I had taken of seaweed I displayed black-and-white photographs that I had taken of seaweed washed up on shorelines, along with special samples of shaped and dried washed up on shorelines, along with special samples of shaped and dried seaweed forms. Several edible-seaweed companies sponsored the exhibition, seaweed forms. Several edible-seaweed companies sponsored the exhibition, and I went a little overboard, designing a tasting station complete with and I went a little overboard, designing a tasting station complete with recipes for incorporating seaweed into many styles of cooking. To support recipes for incorporating seaweed into many styles of cooking. To support the science education offered by the exhibition, there were QR codes on the science education offered by the exhibition, there were QR codes on many of the art labels that led you directly to short videos or information. many of the art labels that led you directly to short videos or information. All of the references were documented on my website's science, culinary, All of the references were documented on my website's science, culinary, and video pages. and video pages. I extended the reach of the exhibition with accompanying public programming. I extended the reach of the exhibition with accompanying public programming. I invited Dr. Kathy Ann Miller to give a public slide talk in I invited Dr. Kathy Ann Miller to give a public slide talk in which she shared her research and experiences, and described the current which she shared her research and experiences, and described the current state of the ocean's seaweeds.6 [For Dr. Miller's thoughts on the project, state of the ocean's seaweeds.6 \[For Dr. Miller's thoughts on the project, see sidenote on this page.—Ed.] I also partnered with a local ocean advocacy see sidenote on this page.—Ed.\] I also partnered with a local ocean advocacy organization, Inland Colorado Ocean Coalition, to design a publication— organization, Inland Colorado Ocean Coalition, to design a publication— Seaweed Action Guide—which we gave out for free at the exhibition Seaweed Action Guide—which we gave out for free at the exhibition events.7 Other public programs I designed to raise money for ocean ecology events.7 Other public programs I designed to raise money for ocean ecology preservation, included partnering with restaurants for seaweed-inspired preservation, included partnering with restaurants for seaweed-inspired drinks and menu items during the exhibition, and a seaweed cooking class drinks and menu items during the exhibition, and a seaweed cooking class at a local culinary school. at a local culinary school. I am now working on arranging for sections of the "Holdfast" exhibition I am now working on arranging for sections of the "Holdfast" exhibition to travel to other locations. In the meantime, my interest has led me to to travel to other locations. In the meantime, my interest has led me to to researching island cultures that have deep traditions involving the use of to researching island cultures that have deep traditions involving the use of seaweed. In Japan the aesthetic aspects of seaweed culinary traditions are seaweed. In Japan the aesthetic aspects of seaweed culinary traditions are highly refined. For Cultivating Umami (2016), I displayed a grid of precisely highly refined. For Cultivating Umami (2016), I displayed a grid of precisely folded and knotted pieces of Japanese kombu, along with an antique Japanese folded and knotted pieces of Japanese kombu, along with an antique Japanese seaweed rake. When I travelled to Hawaii later, I learned about the seaweed rake. When I travelled to Hawaii later, I learned about the remarkably diverse seaweeds there, and met a researcher who interviewed remarkably diverse seaweeds there, and met a researcher who interviewed the oldest residents about their harvesting, preparation, and surprising the oldest residents about their harvesting, preparation, and surprising uses of seaweed. One seaweed, called Limu Kala, is used in an old tradition uses of seaweed. One seaweed, called Limu Kala, is used in an old tradition As a scientist, I specialize in seaweeds of California, As a scientist, I specialize in seaweeds of California, and have collaborated on seaweed research with scientists and have collaborated on seaweed research with scientists in Korea, Spain, Portugal, and Japan. Working with in Korea, Spain, Portugal, and Japan. Working with Jill Powers, both in the field and in discussion, was very Jill Powers, both in the field and in discussion, was very interesting because of her intuitive approach as an artist. interesting because of her intuitive approach as an artist. It was an intriguing process to discover the intersections It was an intriguing process to discover the intersections between my research and Jill's keen interest in the ecology between my research and Jill's keen interest in the ecology and conservation of seaweeds which informs her and conservation of seaweeds which informs her art work. Her curiosity about seaweeds—as both art art work. Her curiosity about seaweeds—as both art forms and as focal points for discussing broader issues forms and as focal points for discussing broader issues of marine ecology and climate change—led to a collaborative of marine ecology and climate change—led to a collaborative design process. Jill shared some of her drawings design process. Jill shared some of her drawings based on her understanding of the patterns of ocean based on her understanding of the patterns of ocean currents and of invasive species. I explained additional currents and of invasive species. I explained additional underlying details such as the patterns of cold, underlying details such as the patterns of cold, nutrient-rich water from the deep ocean in sustaining nutrient-rich water from the deep ocean in sustaining kelps within a challenging environment of warming kelps within a challenging environment of warming and acidifying oceans. We also looked more deeply into and acidifying oceans. We also looked more deeply into the deleterious process by which invasive species settle and the deleterious process by which invasive species settle and establish in native communities. As a result, establish in native communities. As a result, Jill refined her sketches, and developed her concepts Jill refined her sketches, and developed her concepts to more closely match what happens in to more closely match what happens in the marine environment. Our collaboration the marine environment. Our collaboration enhanced Jill's knowledge about the issues and contributed enhanced Jill's knowledge about the issues and contributed to the scientific basis for her deeply inspiring presentation to the scientific basis for her deeply inspiring presentation to her exhibition audiences. to her exhibition audiences. ––Dr. Kathy Ann Miller, Curator of Algae, University ––Dr. Kathy Ann Miller, Curator of Algae, University and Jepson Herbaria, University of California, Berkeley and Jepson Herbaria, University of California, Berkeley Field-study seaweeds found in the intertidal zone, Field-study seaweeds found in the intertidal zone, Big Sur, California. Big Sur, California. Dr. Miller of Jepson Herbarium, University of California, Berkeley, and students in Big Sur, Dr. Miller of Jepson Herbarium, University of California, Berkeley, and students in Big Sur, California during a field study class, Seaweeds of Central California. Photo: Jill Powers, California during a field study class, Seaweeds of Central California. Photo: Jill Powers, June 2015. June 2015. summer 2018 • 29 summer 2018 - 29 to call on people to resolve divisive conflict situations, and in the to call on people to resolve divisive conflict situations, and in the traditional Hawaiian ceremony of forgiveness. I am working on a traditional Hawaiian ceremony of forgiveness. I am working on a new piece that evokes this cultural use of seaweed. new piece that evokes this cultural use of seaweed. Seaweeds have an ancient history and presence on our planet. Seaweeds have an ancient history and presence on our planet. My journey as an artist has opened me to the secret life of seaweed, My journey as an artist has opened me to the secret life of seaweed, while challenging me to understand the ecological rhythms of the while challenging me to understand the ecological rhythms of the oceans. Choosing this undervalued part of the ocean's ecology oceans. Choosing this undervalued part of the ocean's ecology allows me to bring a fresh perspective to the ecological issues. I also allows me to bring a fresh perspective to the ecological issues. I also love challenging the revulsion of people who only know seaweed love challenging the revulsion of people who only know seaweed as the "rotting stuff" that mars their favorite beaches. Capturing as the "rotting stuff" that mars their favorite beaches. Capturing seaweed's beauty and role, while calling attention to the oceans' seaweed's beauty and role, while calling attention to the oceans' ecological plight, has become something of a calling for me. I hope ecological plight, has become something of a calling for me. I hope to continue this exploration in places where harvesting seaweed has to continue this exploration in places where harvesting seaweed has a long tradition, such as the coast of Maine, and in Japan where a long tradition, such as the coast of Maine, and in Japan where kozo and seaweed both have a rich history of cultivation and kozo and seaweed both have a rich history of cultivation and aesthetic appreciation. aesthetic appreciation. In my ongoing exploration of ocean ecology, I feel an inherent In my ongoing exploration of ocean ecology, I feel an inherent tension between aesthetics and activism in creating environmentally tension between aesthetics and activism in creating environmentally related art. How does one create art that is visually powerful and related art. How does one create art that is visually powerful and compelling, while offering evidence, information, and strategies for compelling, while offering evidence, information, and strategies for action? When teaching my eco-art class at Naropa University, I encourage action? When teaching my eco-art class at Naropa University, I encourage the students to play with that tension by creating work that the students to play with that tension by creating work that has aesthetic integrity and shows technical skill, while also effectively has aesthetic integrity and shows technical skill, while also effectively challenging the audience by provoking, awakening, and inspiring challenging the audience by provoking, awakening, and inspiring a response that changes minds and encourages action. a response that changes minds and encourages action. For example, in the piece called False Attractions (2016), I depicted For example, in the piece called False Attractions (2016), I depicted turbulent ocean currents that offer a billowing sense of turbulent ocean currents that offer a billowing sense of movement when seen from ten or twenty feet away. Yet on close movement when seen from ten or twenty feet away. Yet on close examination one can see that much of the piece is constructed examination one can see that much of the piece is constructed from degraded plastic debris from the incoming tide. The accompanying from degraded plastic debris from the incoming tide. The accompanying QR code took viewers to a short video of abraded plastic QR code took viewers to a short video of abraded plastic washed up on the shores of the Hawaiian Islands. In that piece, I washed up on the shores of the Hawaiian Islands. In that piece, I was aiming to provide visual intrigue, along with science education, was aiming to provide visual intrigue, along with science education, to inspire positive action. to inspire positive action. On reflection, I believe that papermaking, both the process and On reflection, I believe that papermaking, both the process and the art, has the power to engage people in thinking deeply about the art, has the power to engage people in thinking deeply about the challenges of our times. The important role of papermaking the challenges of our times. The important role of papermaking in so many traditional cultures fosters a natural awareness of preserving in so many traditional cultures fosters a natural awareness of preserving both the craft and the environmental habitats that nurture both the craft and the environmental habitats that nurture the plants papermakers use. On a deep level, the process of creating the plants papermakers use. On a deep level, the process of creating paper and its art forms requires us to submit to the humbling paper and its art forms requires us to submit to the humbling unpredictability and fluid chemistry that makes this water-born unpredictability and fluid chemistry that makes this water-born medium so challenging and surprising. When we do that well, our medium so challenging and surprising. When we do that well, our acceptance and mastery of these dynamic elements can make both acceptance and mastery of these dynamic elements can make both our work and our lives more flexible and buoyant as we respond to our work and our lives more flexible and buoyant as we respond to the issues of our times. the issues of our times. ___________  notes notes 1. Rachel Carson, The Edge of the Sea (New York: Houghton Mifflin Harcourt 1. Rachel Carson, The Edge of the Sea (New York: Houghton Mifflin Harcourt Publishing, 1955), 1. Publishing, 1955), 1. 2. For more information, go to the Exhibition pages on my website http:// 2. For more information, go to the Exhibition pages on my website http:// jillpowers.com. jillpowers.com. 3. Reference articles on seaweeds, oceans, and climate change can be found at 3. Reference articles on seaweeds, oceans, and climate change can be found at http://jillpowers.com/science/. http://jillpowers.com/science/. 4. From my exhibition statement for "Holdfast: Seaweeds in a Time of Oceanic 4. From my exhibition statement for "Holdfast: Seaweeds in a Time of Oceanic Change" (2016). Change" (2016). 5. Underwater seaweed video, http://jillpowers.com/video/. Also see, James 5. Underwater seaweed video, http://jillpowers.com/video/. Also see, James Atherton Photography, http://jamesatherton.com/a/videos/videos.htm (accessed Atherton Photography, http://jamesatherton.com/a/videos/videos.htm (accessed February 16, 2018). February 16, 2018). 6. Dr. Kathy Ann Miller is Curator of Algae, University of California, 6. Dr. Kathy Ann Miller is Curator of Algae, University of California, Berkeley Herbarium. Her biography and writings are accessible online at Berkeley Herbarium. Her biography and writings are accessible online at http://ucjeps.berkeley.edu/people/ka_miller.html (accessed February 16, 2018). http://ucjeps.berkeley.edu/people/kamiller.html (accessed February 16, 2018). 7. The Seaweed Action Guide is downloadable at http://jillpowers.com/. 7. The Seaweed Action Guide is downloadable at http://jillpowers.com/.

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