I created this piece using an analog toy camera that allows me to record using regular 35mm film. I went to a beach I used to go to when I was little and I took the camera with me into the sea. I submerged myself in the water just for a few seconds, enough time for the water to touch the film and start transforming it.
What you can see in the video is the imprint of the salty water on the film and how this encounter damaged and/or transformed what I had recorded. However, the video preserves a very very aqueous aesthetic, even dreamlike.
I edited this piece together with sounds I had been recording on different shores while researching my project “El Mar son las Raíces” in which I explore the interconnection between memory, grief, and the Mediterranean.
This ecosexual wedding performance took place at the Great Salt Lake in 2021, near the iconic land art sculpture Spiral Jetty (1970) by Robert Smithson.The ceremony was graced by the presence of Annie Sprinkle and Beth Stephens who launched the ecosexual movement in art, and was carried out in collaboration with Bonnie Baxter and Jaimi Butler, the scientists from the Great Salt Lake Institute, Westminster College, in Salt Lake City. Joy Brooke Fairfield directed the wedding performance under the difficult circumstances of heat and drought the unique body of GSL water is now experiencing due to climate change.
Through this performance, humans were married to the tiny crustaceans the whole GLS ecosystem depends on. The brine shrimp brides were represented digitally through the Augmented Reality application Artemia designed to visualize these aquatic wildlife critters in contrast to modern science’s goals and consumer imagery of the Sea Monkeys, a commodified instant life-form. The wedding prioritized the representation of the multispecies community and connected ecosexual to hydrofeminism. It emphasized the need for alliances between artists and scientists to make brine shrimp lovable and visible in cyberspace beyond the global brine shrimp farming industry.