Biological changes occur naturally across Earth’s landscapes. A period known as the ‘Great Acceleration’ signifies the heightening of human activity from the start of the industrial revolution (1750) to nearly the present (2010) – otherwise referred to as the Anthropocene. Of ‘Great Acceleration’ contrasts natural occurrences with those brought on by human impact, which can further accelerate change.

Plastics are considered to be the key biomarker for the start of the Anthropocene and their many applications have made them extremely copious and ubiquitous. “Plastics are key to the momentum of the technological revolution from the start of the ‘Great Acceleration’, because of their remarkable utility and versatility. Plastics are relatively easily recognizable, without the need for sophisticated analytical equipment… They may, therefore, be widely effective stratigraphic markers for Anthropocene strata.” (Zalasiewicz, J., et al, 2016, Anthropocene 13, 4-17).

Of 'Great Acceleration', 2017. Image by Wes Magyar.

Using stereolithographic-3D printing I have created a mode for dialog around such issues of: human and biological compatibility, how artists may use digital and 3D technology to help mediate interactions between humans and natural systems, and how emergent artists can optimize technology to enrich and promote Earth’s natural environments.

As cast shadows represent the past, or the ghosts of past environments, they cohabitate with the scaffold workings of the stereolithographic process. A utility, as much as an approach at grounding the natural landscape into their overall biological system, the scaffolding is an eerie reminder of human disturbances and destruction on natural environments. Each solid white Of ‘Great Acceleration’ model is mounted on a handmade wood panel, further illustrating the ecological impositions that humans have impressed upon the natural world.

Of 'Great Acceleration', 2017. Image by Wes Magyar.


3D modeled virtual production file

3D file during production process