Environmental Ethos

As part of conforming with best practices in public art in my work, I have considered sustainable practice as an essential aspect of my work in the public domain for over fifteen years. Having researched, experimented with and practiced ‘green building’ as part of my architecture studies at FH Lippe in Detmold in the early 1990s, I have transferred these skills and knowledge to my professional practice as a sculptor. Awareness and understanding of the environmental impact is essential to adjust work methods to reduce carbon emissions, waste, energy and material usage. Subsequently I adapted the practice of compiling Environmental Impact Analyses for most major sculpture projects for the public domain since 2011 and for all projects from 2020 onwards. The understanding gained from this exercise and the increasing need for urgent action to drastically limit our impact on the environment in all areas of life and work have led to the action plan below.

As lead artist for the Art in the Wetlands programme on Lough Neagh 2003-2009, I have developed a concept for public art and a complementing community workshop programme that combined the three pillars of sustainable development - environmental, economic and social sustainability - with cultural sustainability. This was a continuation of my research into ‘eco-design’ during my work as a researcher for Falmouth College of Art and The Eden Project, Cornwall from 2001-2003 (working with Dr. Katie Bunnell and alongside Alastair Fuad Luke), based on the understanding that environmentally conscious creative practice can gain understanding from traditional craft practice in the past, notably the use of local, abundant, regenerative materials, carbon-neutral fuels and the system of ‘tradition’ or passing-on. In keeping with this research interest, I have developed prehistoric fabrication methods for implementation in my workshop practice and continue to teach the making of traditional Irish curachs in community workshops and environmentally sustainable leisure craft.

While the increase of environmental concepts in art over the last decade is an important evolution, their durability and long-term impacts may be less beneficial. Traditional sculpture practice has the benefit of longevity - the ‘durability factor’. Although metal and stone both have relatively high embedded energy, waste and carbon emissions due to the use of energy intensive processes and raw materials, time is an important factor in the calculation of their environmental impact. A bronze artwork that lasts well in excess of 500 years does considerably less damage to climate and environment than work made from short-lived organic materials or work that requires constant power supply. All aspects and impacts of a work’s lifecycle need to be considered.

Implementation of Sustainable Art Practice

Carbon Emissions. The average annual Carbon footprint for my practice is currently 2.5t CO2e (for 2020 due to COVID down from 3.6t for 2018 and 2019). The aim is to reduce this to 3.0t by end of 2022 permanently, together with a reduction of the annual personal CO2e footprint from 3.4t in 2019 and 2.4t in 2020 to a permanent 2.5t by 2022. Electricity is provided by a 100% regenerative supplier since 2014 (Bright) and solar EV panels are to be installed by 2022. Low consumption LED lighting is used. Since 2015, castings (by weight) for smaller work use regionally sourced hardwood charcoal (from Co. Clare) or timber (Co. Kerry), cast using Bronze Age style pit furnaces. The carbon emissions and all individual project are offset from 2020 onwards. 80x native trees planted in 2019, 120x in 2020 as carbon sinks plus 120sqm of wildflower meadow for biodiversity (1/2ac wildflower area plus 80x trees planned for 2021). Business flights are limited to one domestic/European flight every three years. Travel that does not require material/goods transport by van or car is by bus or train. A 3,000l rainwater capture system for greywater supply in the studio was installed in March 2020. Production of work by the contract companies are taken into account for individual projects

Recording. An Environmental Impact Analysis template has been provided for most larger sculpture projects since 2011 and for all projects from 2020 onwards, stating embedded energy values of the materials used, waste and carbon emissions.

Reduce. Since 2011 large sculptures are fabricated from repoussé sheet bronze rather than castings by outsourced contract companies (Apex Engineering, Aquadesign, Feelystone), reducing the embedded energy, wasteful processes and material usage. Weight and energy is thus reduced to 1/3 of conventional lost-wax cast artwork as well as waste due to eliminating two moulding and intermediate wax stage. All sculpture work has an intended lifespan well in excess of hundreds of years and is fully recyclable if necessary before that period (a lifespan of 100 years is assumed for impact assessments). Any lighting in public work is LED and solar where feasible.

Reuse. Recycled materials are used where possible, all metal waste is re-used in new sculpture work. All castings are made of bronze with a min. of 50% recycled fraction; casting moulds use Bronze Age processes with clay, sand and horse dung, nearly fully locally sourced. All casting mould materials are min. 90% recycled. 3 in 4 flexible moulds are made from re-usable Gelflex thermoplastic vinyl rather than RTV silicon. Down-cycling and second-use of single use plastic waste in the studio (bags, beakers, bottles) where full cyclic it cannot be achieved.

Repair. Increase use cycles of electronic goods: phones and tablets replaced only after 4-5 years, laptops after 10 years; repair rather than replacement of power tools; investment into high quality and repairable hand tools and equipment. Maintaining existing vehicles and equipment instead of upgrading.

Replace. Full phasing-out and replacing GRP resins with water-based acrylic resins (Jesmonite) and CNS resins by 2021. Making art materials (paper, charcoal, walnut and oak gall ink) from locally sourced materials.

Resilience & Cultural Sustainability is ensured by designing artwork with relevance to the heritage and context of the location. Referencing the environmental crisis, climate change and biodiversity in the context and concept of new work. PASA (Public Art Sustainability Assessment) guidelines are followed. Subjects, research and workshop programmes are developed with projects to introduce transferable skills and sustainable craft practice in the community through workshop programmes.