Page 16 - Antennae Issue #52

Dornith Doherty
pp 14-15: Banksias archival pigment print 2014
© Dornith Doherty
Entwined in in in in the the the narratives of of my lifetime is is a a a a a a a a a a a deep-seated anxiety about the the the acute gravity of of climate change diminishing biodiversity and the the the the possibility that that we may not be be able to retreat from the the the brink When I read that that a a a a a a a a a a a a a a a a a a a a Dooms- day day Vault—a modern-day ark for plants—had been built near the the the North Pole I I became determined to to to photograph it Two years later I I crossed the the the threshold into the the icy cavern containing a a a a a a a a a comprehensive catalogue of life Dornith Doherty
[1]
Archiving Eden is is is a a a a a a a a a a a a a a a a photographic project by artist Dornith Doherty
Doherty
that considers the scientific ecological and philosophical implications of seed seed banks banks Since 2008 Doherty
has traveled across five continents visiting eighteen seed seed banks banks and and research centers to document these loca- tions and and their contents The series is is a a a a a a a a a a a a a poignant exploration of of global pres- ervation initiatives in in in the the face of decreased biodiversity Seed banks vary in in in size and and focus but share a a a a a a a a a a a a a a a a common mission to to safe- guard genetic material to to to ensure plant diversity and and adaptability often with an an an an an an emphasis on on food crops Multiple existential factors impact the survival of of life on on on earth including climate change natural disasters pandemics and and civil strife Collecting seeds to to protect biodiversity is is one of of the the many global conservation initiatives that seek to to combat these threats These collections may may save humanity from famine or or other disasters and and may may help scientists understand which genes will improve resiliency for plants in in in our changing environments Planting the Seed Often discussed in in in in apocalyptic terms by the the media it it was a a a a a a a a a a 2007 New Yorker article article titled “Sowing for for Apocalypse” that introduced Doherty
to seed banks and and was the the the source of of inspiration for for Archiving Eden [2] The article article highlighted Cary Folwer then-director of of of Global Global Crop Diversity Trust Trust and and the the the the the the construc- tion of of of the the the the the the Svalbard Global Global Seed Vault which the the the the the the Trust Trust underwrites (the vault opened in in 2008) Located on on an an an an island under under the the the the the sovereignty of of of Norway it it it is is situated 50 miles north of of the the the the Arctic Circle and and anticipated to to remain above sea level should the the the the ice caps melt [3] The vault’s mission is is to to to serve as as the the the the back-up supply to to to seed seed banks around the the the the the world Its ambition was realized in 2015 when the the the first withdrawal of seeds occurred due to to the the the Syrian civil war damaging a a a a a a a a gene bank bank near Aleppo [4]
The necessity of seed seed banks banks is made evident by these these threats Howev- er er seed seed banks banks are sites brimming with with hope: even within these these cold archival spaces an an an Eden may exist ready to sprout It is is is here in in in in the the the duality of of apoca- lyptic threats and the the the optimism of of global preservation efforts that Archiving Eden is is is is grounded The The reference to to the the archetypal garden is is is is itself a a a a a a a a a a a dicho- tomic term term not only referencing paradise but our expulsion from it it it it The The pairing of of of scientific scientific terminology with lyric symbolism situates the artworks as not only sites of of of scientific scientific knowledge but also of of of philosophical inquiry and and historical contextualization constructing an an an an augmented understanding of the various disciplines Within seed banks Doherty
sees “a glowing ver- dant technological garden ”[5]
Illuminating Life
Archiving Eden sheds light on on on seed banks through various aesthetic choic- es es es One section sub-titled The Vaults consists of of of documentary-style photo- graphs of of of the the banks’ exteriors interiors and aspects of of of processing the the col- lections Seed Vault Kuban Experimental Station Russia provides a a a a a a a a a a a a glimpse into a a a a a a a a a a a a a site generally hidden from public view whose shelves of seemingly infinite glass containers are are filled with abundant biodiverse resources Many images are are reminiscent of 19th-century geological survey pho-
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