Artist Jess Pemberton joined Exeter Marine within the Environment and Sustainability Institute, University of Exeter in June as part of Arts and Culture’s new Artist in Residence programme.

The residency aimed to provide time, space, and inspiration to explore new approaches to exploring UN Sustainable Development Goal 14: Life Below Water in dialogue with a range of academics. From snorkelling through a local seagrass bed to experimenting with collage, animation and game development, the residency became an opportunity to look beneath the surface both literally and creatively.

Below Jess reflects on her residency experience, the researchers and ideas that inspired her, and how an unexpected journey beneath the surface has shaped the work she is continuing to develop.

Life Below Water

By Jess Pemberton

Coming into the residency, I wasn’t too sure what to expect. I hadn’t worked with marine themes before, or scientists directly for that matter, and so it was a new challenge, and I knew it would hold the unexpected.

My first day was a whirlwind! The Exeter Marine department had a showcase where many of their researchers across a huge variety of projects and multiple campuses presented their research and findings, or what they hoped to discover. This set my brain on fire, hearing about unexpected orange broccoli-type worms/beings coming out of the seabed, carbon snow, deep-sea sharks with unknown extra senses and so much more. 

Something that struck me was the unique challenges around protecting marine environments (known as MPAs) and, as Dr. Tomas Chaigneau, the keynote speaker, pointed out even identifying what protecting these areas means is a complex matter that involves perception of conservation as much as the reality of it.

After meeting with various researchers, I gravitated towards looking at seagrass and ancient maerl bed habitats. Working with Sophie Pipe, I learnt that seagrass is a keystone habitat, meaning it’s very reactive to changes in its environment and therefore useful for understanding the impact of changes in water quality on marine life. With my previous work focusing on photosynthesis and forest systems I was excited at the prospect of looking at the only photosynthesising and flowering underwater plant. On learning about the life cycle and role this habitat plays, it felt very human - particularly got me thinking about the human hand and nurturing gestures. 

I think one of the issues with getting people interested in marine conservation and life is that most of us don’t see it. I was shocked to learn there was a beautiful healthy seagrass bed near the university. Researcher Sophie Pipe took me snorkelling to see it in person and it was the most engaging science lesson I’ve ever had. The majestic movement of the grass and the creatures living amongst it felt otherworldly and beautiful.

Below is the best summary of my impression of blue carbon, seagrass and ancient maerl:

• Blue Carbon = A living remnant of our misguided ways. Locked away, stored and forgotten.
• Seagrass = As gentle hands are grounded yet float they nurture and grasp.
• Ancient Maerl = Ours gazes back at us. Breathing without green yet pink is crushed underfoot of our oat milk dreams.

I spent a lot of my time in the ESI studio, collaging, gathering and categorising source material and learning how to rig and animate a 3D model. I became interested in humanising seagrass’ impact and importance and showing our commonality with it. To achieve this, I have started creating a Blue Carbon Guardian character and coming up with a ritual that the character performs to support carbon sequestering in the hope that making the process magical, it will garner more interest and give people something relatable to connect with.

Something else that interested and excited me about working with the researchers is the similarities to creative practice. I didn’t expect to have so much in common with them but as many of them told me about their research process, trials and successes it really reminded me of my creative process.

During the residency I ran collage sessions and it was lovely to gather and gently make collage together. It ended up being another opportunity to discover my commonality with the researchers and their working processes. I was thrilled by what people made and hoped it was a relaxing and meditative experience for the people who came. Have a peep at some examples of what they made.

All in all, the residency was a beautiful experience and I was very honoured by the time, patience and kindness of the researchers and the ESI staff who engaged and supported me. Marine life has capture me.

Since the residency ended, I have been developing an interactive piece in Unreal Engine where the player will be the Blue Carbon Guardian and perform the ritual to balance the ecosystem. This is taking more development than expected for the first prototype so in the residency exhibition, I’ll be showing a video piece of the development so far alongside an interactive abstract seagrass piece made in TouchDesigner and preparatory collages. Where I want to get to with the work, is a piece made in Unreal Engine but that combines the styles I have tapped into in all the works on show. I’m really excited to keep developing the work and keep the connections with the researchers I met going so I can make both informed and engaging pieces.

Lastly, my residency has coming at an interesting time locally, as the council have plans to dredge Falmouth docks to redevelop the area. This will severely damage the local environment including seagrass and ancient maerl beds and the carbon which is sequestered there which I have spent time learning about. Have a look at the campaigners socials online to learning more and how you can get involved in the conversation: @stopthedredge

This residency was delivered in partnership with Creative Kernow Associates and jointly funded by Arts and Culture and Environment and Sustainability Institute.