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Ocean, Otters, Oil

Ocean, Otters, Oil

W 101.60cm x H 101.60cm x D 3.80cm

USD $3,500.00

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  • About this Ocean, Otters, Oil

    Detail

    Medium

    Painting (Oil painting)

    Edition

    Original Artwork

    Year

    2021

    Sign

    Artists' signature on the back of the canvas

    Frame

    Unframed

    Description

    On walks along California's Central Coast, I often stop and peer into the swirling mix of seaweed and surf looking for the telltale bob of a sea otter as it breaks to the surface. The tap, tap, tap of otters cracking shells across rocks carried on their chests as they float on their backs in the kelp filled water also gives away their location. Sea otters are voracious eaters, clearing coastal seabeds of purple sea urchins that would otherwise decimate the growing kelp forests.
    By keeping the purple urchin population down, sea otters remove kelp's major nemesis. Sea urchins feed on the holdfasts that keep kelp anchored to the bottom of the ocean. Sea otters feed on the purple sea urchins that devour kelp forests. When the sea otter population collapsed after centuries of being hunted for their furs, the entire ecosystem of the Monterey Bay shifted.
    The bay's giant kelp forests disappeared and along with it most of the sea life that they supported and protected. Matt Simon in Wired's November 4, 2021 article on sea otters explains that, "Keeping the urchin population in check preserves the kelp, which is vital for the ecosystem in two main ways. First, the forest is a habitat for fish, which are the food source for birds and other marine mammals, like sea lions. Second, the seaweed is part of what scientists call a blue carbon ecosystem, meaning a coastal or marine area that sequesters carbon."

    To get even closer to sea otters, I love to visit the Monterey Bay Aquarium and their sea otter information and exhibition space. The Monterey Bay Aquarium describes sea otters as aquatic environmentalists: "By munching on urchins, they help kelp forests flourish, and by crunching on crabs, they promote eelgrass in estuaries. But this marine mammal is endangered — and needs our help." The sea otter population along the Central California Coast has rebounded after being feared extinct early in the 20th Century. But a family of resilient sea otters were found near Bixby Bridge in 1938. Due to strong conservation efforts, California's sea otter population has slowly grown to the current number of around 3,000. A combination of legal protection — in 1977 sea otters became protected under the Endangered Species Act — and the efforts of nongovernmental organizations have prompted the sea otter resurgence. But the sea otter's future is still at great risk. Oil spreading south from a single tanker spill near San Francisco or off the pristine Central Coast would threaten the entire California sea otter population. With the recent oil spill in Southern California off Huntington Beach in October 2021, I was reminded how vulnerable our coastal ecosystem is to oil spills and climate change. Coast Guard officials determined that the spill came from a leak in a pipeline owned by Houston-based Amplify Energy that shuttles crude from offshore platforms to the shore. In response to this latest environmental emergency, I created my painting "Ocean, Otters, Oil."

  • About this artist

    Gregg Chadwick

    Gregg Chadwick

    United States of America

    Concept

    Ghosts of earlier ideas appear within Gregg Chadwick's artworks and combine with other transparent moments to create a semblance of movement, of time passing. In antiquity and later during the Middle Ages, manuscript pages made from animal hides were often scraped down and used again. Faint traces of the underwritings on these parchments, called palimpsests, survived. Chadwick's painting process involves a series of applications and erasures, echoing these layered fragments from the past. At times, he scrapes down entire wet paintings leaving a fragile palimpsest. These under images often bring forth mysterious fragments from his subconscious. Chadwick builds a combination of shadow and illumination in each painting to create a sensation of light emanating from the work. He works with oil paint and usually create at least one color in each painting from ground pigments mixed by hand with linseed oil. Linseed oil has the propensity to grow more transparent with age and visible traces of earlier painted marks gradually appear because of this tendency — called pentimenti.Chadwick embraces this eventual outcome in his work and incorporates planned and unplanned pentimenti in his process.

    By layering paint upon paint, Chadwick builds an artwork through a succession of present moments in time that often combine in unforeseen patterns. A viewer recently remarked that Chadwick's paintings resemble "time travel where the molecules are not quite sure where they belong." This visual conundrum plays with the proposition of many quantum physicists that time may not exist at the most fundamental level of physical reality.

  • FAQ

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    In many cases, art works with a canvas stretched over a wooden frame can be displayed as is. Thin art works other than canvases are easier to frame. For any questions or concerns please chat us.

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    • If there is a string on the back of the canvas or the back of the frame, you can hang it with a pin type that has a short hooking surface.
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