1. How to do feel that the climate crisis affects your art work, if at all?
If one is paying attention, one cannot help but feel the affects of climate change now. Though in some ways it is an indirect way of addressing the issue, my work revolves around craft and connection to the natural world, with intention to foster and cultivate respect for our environment and human labor. These are key considerations in imagining a way of existing in the world that is harmonious rather than destructive. There is no more urgent challenge.
2. Are there specific actions that you are taking to mitigate or lessen your climate footprint, regarding your art practice? e.g. flying, packaging etc? Can you please share these?
As with my previous work in organic agriculture, I attempt to work with local materials and fabricators as much as possible. This reflects a desire to work in concert with my surroundings: environmental and socio-economic. This keeps resources and energy focused locally, which is a key imperative in mitigating the affects of human caused climate change.
3. Living in California where extreme weather events are becoming common, how do you see the coming 10 years in terms of climate crisis and everyday life?
I have been aware of the impending climate crisis for a couple decades now, but the speed and tenacity with which it has become an immediate reality has been astonishing. We now refer to ‘fire season’ in California, and I will forever mark 2017 as the beginning of new era in which the climate crisis arrived in full force with the first of yearly extreme wildfires. Acknowledging the remarkable speed with which this reality has become everyday, it is impossible to imagine what the consequences of the climate crisis will be in the ensuing decade.
4. Where do you get information about climate issues? Any specific websites, books etc? Do you talk with like-minded friends and share information and tips?
I look to writers and activists such as Wendell Berry, Masanobu Fukuoka, Vandana Shiva, Bill McKibben, Elizabeth Kolbert, etc. If one is to grasp the change that is necessary and act accordingly, the writings of these authors would be a critical place to begin. The Guardian is one of the newspapers to be a leader in reporting on climate issues. There are a host of organizations that are engaging in relevant activism, including McKibben’s 350.org. And I speak to friends and colleagues about the issues.
5. What kinds of initiatives do you think that the art sector should be more pro-active on regarding climate issues? e.g. restricting certain activities like flying? the role of cool museum spaces in the future? Local community etc?
I am always an advocate for keeping a local focus. This is where we can all begin to effect real change, and demand our governments address the issue with the urgency is requires. There are also a couple non-profits advocating in the arts sector: https://www.artandclimateaction.org/ and https://www.artistscommit.com/.
6. Are there any artists, currently or in the past who you inspires you regarding earth issues, climate issues and adapting to crises?
There are artists whose work, or specific projects, have engaged these concerns, too many to list really. It can be difficult to address these concerns in a direct way without being didactic and losing a certain spirit. I commend and admire those that are able to do so.
It is very interesting to hear Jesse speak about 'paying attention', and from this he becomes more sharply attuned to climate issues and its effects. I think that we live in an age when 'paying attention' is becoming harder, due to overwhelming media and information. Nevertheless, this is one skill that we can re-learn through art - to pay attention closely to things, to materials and to processes. Sometimes climate change issues can feel very abstract or distant from our everyday lives, and yet with some empathy and attention we can begin to understand its far reaching effects around the world.
Jesse also spoke about his focus on the local. When the art world today operates on a highly globalized and financialized system, a good starting point for personal action is to become aware of the locality where one lives and works. Jesse works from a deep tradition of crafts as well as fine art, so he has a strong affinity with materials and place. The local is a place not only for materials, making and a market, but crucially also a source of support through friends and community. While we are all connected via sophisticated digital technologies, it is good to be grounded in a strong local ecology.
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