Monday, May 14, 2018




Here is something unforgettable - artworks at the bottom of the ocean.
Ken

From Newsweek: Sculptures at the Bottom of the Ocean

The British-Guyanan underwater artist Jason deCaires Taylor is part of a worldwide movement of artists transforming spaces on the seafloor into underwater galleries.
full article




The soft yellow sponge growth dominating the face of this statue survives by pumping and filtering water through its networks of capillary and arteries, referencing the veins and transportations systems of living human anatomy.



To see more of Taylor's work, visit his website
Photo credit: Jason deCaires Taylor


The identical positioning of the figures in a pray like pose aims to highlight a shifting in values and misplaced idealism towards monetary remuneration. Actually one of the easiest sculptures to create it has become one of the most popular and resonated with the public.



Of of Jason's first pieces in Grenada. The piece worked so well in its coral corridor that it inspired the remaining works to be constructed to form the complete sculpture garden.



 A classical still life which is continuously changing and inscribed by prevailing conditions.




The entire installation is comprised of over 450 figurative pieces based on real life models and took over 2 years to construct. The diamond formation is engineered to dissipate strong currents and designed to collect coral polyps after the annual spawning.



At night a divers torch illuminates the true colors of the corals and sponges.


Detail of Brian. The eye area has been colonized by a bright red sponge after around 2 years submersion.


A school of Bar Jacks take refuge from Barracudas within the formation of the "The Silent"




"The Banker" located on 12-foot-deep flat stretch of sand features a internal living space between the legs for crustaceans to breed and inhabit.



Following record high sea temperatures in Mexico algal blooms have formed over the pieces. This in turn is then harvested by local fish species.

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