Tideline

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Thank you to our esteemed guest speakers, Di Fu, VP of Impact Investing at Temasek; Kristin Sadler, Manager of Platform & Impact at Quona Capital; Rekha Unnithan, CFA Unnithan, Global Head Impact Private Equity at Nuveen, a TIAA company; and Eszter Vitorino Fuleky, Lead Expert Sustainability Advisory at Van Lanschot Kempen, for sharing your valuable insights as we strive to move beyond table stakes. My other ‘Anthropocene Fossil’ pieces are fossilised vessels of the Petro-chemical industry; an oil barrel and a jerry can. There is a circularity to these works as the Hamstone used is a Jurassic limestone, and most of the crude oil processed by the petro-chemical industry is found trapped within Jurassic or cretaceous limestone. Based in the small mid-Wales market town of Machynlleth, Coch-y-Bonddu Books are leading international dealers in new and out-of-print books on the subjects of angling, game shooting, sporting dogs and falconry. Coch-y-Bonddu Books grew out of the interests of owner, Paul Morgan, who issued his first catalogue of second-hand fishing and sporting books in 1982, while he was still working as a water bailiff on the River Dyfi. A series of successful and comprehensive sporting catalogues enabled Paul to take up bookselling full-time in 1990, giving him more time to travel the world in pursuit of rare and interesting books. Intentionality – Explicitly targeting specific social or environmental outcomes, such as the UN’s Sustainable Development Goals (SDGs); Congratulations to the UNICEF and UNICEF USA teams on their release of the Child-Lens Investing Framework! Tideline is proud to have worked alongside UNICEF and UNICEF USA in the development of this framework, introducing the concept of child-lens investing to the market.

Fresh from the launch of Corpus Maris I, commissioned for this year’s Sydney Biennale, and adopting a reduced footprint approach to making that is being supported locally by Messums Creative, Julia Lohmann fabricated a series of seaweed sculptures for the gallery in Wiltshire in March. A long-time champion of kelp as a material for reimagining living with our resources, Lohmann’s luminous structures suggest new propositions for sustainable creative practice. ‘Every species has an equal right to life on this planet. We can use the same human ingenuity that has led to the climate crisis we are facing now… to protect and regenerate the ecosystem that sustains us.’ I started looking at sea defences within my work in 2017, as I was interested in their varying geometric shapes. These huge man-made shapes protect the land we walk on from the ever-encroaching expanses of sea. They seem so alien and out of place in their natural setting. The aim of Lifelines is for the public to become as easily familiar with the location and shape of coral reefs as they are with the shape of continents. I am seeking to create a sea-change in people’s thinking, where out of sight is no longer out of mind, and to pull focus to life below the water and our connection to and dependence on healthy oceans. These barriers of shapes protecting the land from the sea represent a metaphor to me of the human condition and struggles that we face. Particularly apt at a time when the nightmare that is Brexit has become real, disease has turned our lives upside down and we are on the brink of a potential world war.It also introduces the theme of mapping and representation, as well as an aspect of fishing off shore, which connects us to thinking of boundaries both physical and political, and the way these lines are drawn.

A tideline refers to where two currents in the ocean converge. Driftwood, floating seaweed, foam, and other floating debris may accumulate, forming sinuous lines called tidelines (although they generally have nothing to do with the tide).In a small sand-island in the North Sea, a tiny figure filmed from a drone walks in ever decreasing circles around the tightening perimeter of the shore. As the tide comes in and eats away at the sliver of land, so it and the figure’s room for manoeuvre reduces and ultimately disappears, vanishing under the inevitable waves. Like other works in the show, Simon Faithfull’s Going Nowhere 1.5 brings humour and absurdity to bear on a situation which can seem hopeless and beyond our understanding. Inside, Tania Kovats’ Bleached anticipates what future museum presentations of these vital and fast-disappearing habitats might look like. Taking specially-fabricated coral from a decommissioned exhibit from The Deep aquarium in Hull, Kovats sliced through the With Island, I am taking unusual materials but ones that are linked to everyone’s experience, as they all are familiar with tyres in all their forms of use; and referring to the second use of this product, once worn out, by trawling fishing boats. In this way, I am relocating people’s thinking to the water and sea bed off our shores. Shaping this island (GB) with these materials reconnects us to the land mass under our feet, and its connection to the land under the sea surrounding us. Also outside the Barn is Ros Burgin’s Lifelines. Coral reefs are some of the richest and most diverse ecosystems on earth, representing an important source of food and income to more than 500 million people worldwide, and they perform a crucial role in coastal defence. They are formed of the calcium carbonate skeletons of corals, small, immobile organisms closely related to jellyfish. Under pressure from pollution, over-fishing, sea temperature rises and bleaching, reefs have declined by 50% since 1950. Burgin’s work maps out the world’s remaining tropical coral reefs across four handcrafted Lignum surfboards. Geoffrey Wansell wrote in the Mail ‘ Penny’s ability to evoke place and fill it with a sense of dread, not to mention her cool ear for the nuances of dialogue underline the du Maurier comparison .’