Bringing together concepts and forms relating to consumerism, waste, the environment, the future and nature, Wastemedia, an art identity created by Taranaki artist Claire Jensen, emerged as a response to the global plastic crisis and asks viewers to consider consequences of a continued reliance on plastics in our modern, consumer lifestyles.
While working as a primary school teacher, Jensen was looking for free and readily-available materials for creative projects at school. Noticing the number of plastic milk bottles that accumulated in the staff room led to a project where students created wearable art from the material. “It was a task we both found challenging as it is not easily joined or painted.”
Jensen began to explore the use of high-density polyethylene (HDPE), the kind of petroleum-based plastic used to create milk bottles, as a part of her own work. "It was free and plentiful, especially since my then toddler was a great consumer of milk. We were going through around nine litres a week.”
Mindful of their own household waste, Jensen would collect empty bottles for months before experimenting with techniques relating to leather craft, origami and other paper craft to turn them into works of art.
Jensen’s first HDPE creation was Geo-cloud; a light sculpture constructed from hand-cut and sewn elements to create two modular clouds illuminated with LED strip lighting. The piece was selected to be shown in Taranaki’s first Homework exhibition. “The rubbish destined for our recycle bin was now hanging as a high-end art object in a stylish gallery space”.
Over time, Jensen has become more aware of the issues relating to plastic use and has reduced the amount of plastic waste produced in her household. “It requires a shift in buying patterns and is certainly not as convenient, but I believe that we’re able to make a direct and positive change for the better by doing so. We still buy the 3L milk containers, but now bulk buy dry and fresh foods, use refillable containers and buy goods packaged in paper, card, foil and glass. We also use solid bar toiletries from the NZ-made Ethique brand, buy second-hand clothing and live influenced by post-consumer philosophy.”
Given the reduced plastic waste in her own household, Jensen eventually had to turn to other sources for her art-making materials and now sources plastic from local households, businesses and beaches. “The material is pervasive within our modern life. It is a highly durable and useful material, but it is synthetic and pollutes all levels of life on this planet”.
A solo exhibition of Jensen’s Wastemedia work is currently in the pipeline and will feature biomorphic and geomorphic forms constructed from waste plastics to represent future terrain and life.
Aiming to be mindful of the environment in the construction of her pieces, Jensen aims to work as sustainably as possible. Using low-tech and largely hand-made processes requiring only her own energy, and minimising the use of more toxic materials such as resins are important aspects in creating her contemporary sculpture.
Jensen would prefer to work with wood, but finds, rather unfortunately, that waste plastic is more readily available. “The need for education around the negative impacts of this material, along with how consumers and producers can help alleviate the issues mean I will continue to pioneer ways to work with plastics. After all, it’ll be around for many years to come.”
While working as a primary school teacher, Jensen was looking for free and readily-available materials for creative projects at school. Noticing the number of plastic milk bottles that accumulated in the staff room led to a project where students created wearable art from the material. “It was a task we both found challenging as it is not easily joined or painted.”
Jensen began to explore the use of high-density polyethylene (HDPE), the kind of petroleum-based plastic used to create milk bottles, as a part of her own work. "It was free and plentiful, especially since my then toddler was a great consumer of milk. We were going through around nine litres a week.”
Mindful of their own household waste, Jensen would collect empty bottles for months before experimenting with techniques relating to leather craft, origami and other paper craft to turn them into works of art.
Jensen’s first HDPE creation was Geo-cloud; a light sculpture constructed from hand-cut and sewn elements to create two modular clouds illuminated with LED strip lighting. The piece was selected to be shown in Taranaki’s first Homework exhibition. “The rubbish destined for our recycle bin was now hanging as a high-end art object in a stylish gallery space”.
Over time, Jensen has become more aware of the issues relating to plastic use and has reduced the amount of plastic waste produced in her household. “It requires a shift in buying patterns and is certainly not as convenient, but I believe that we’re able to make a direct and positive change for the better by doing so. We still buy the 3L milk containers, but now bulk buy dry and fresh foods, use refillable containers and buy goods packaged in paper, card, foil and glass. We also use solid bar toiletries from the NZ-made Ethique brand, buy second-hand clothing and live influenced by post-consumer philosophy.”
Given the reduced plastic waste in her own household, Jensen eventually had to turn to other sources for her art-making materials and now sources plastic from local households, businesses and beaches. “The material is pervasive within our modern life. It is a highly durable and useful material, but it is synthetic and pollutes all levels of life on this planet”.
A solo exhibition of Jensen’s Wastemedia work is currently in the pipeline and will feature biomorphic and geomorphic forms constructed from waste plastics to represent future terrain and life.
Aiming to be mindful of the environment in the construction of her pieces, Jensen aims to work as sustainably as possible. Using low-tech and largely hand-made processes requiring only her own energy, and minimising the use of more toxic materials such as resins are important aspects in creating her contemporary sculpture.
Jensen would prefer to work with wood, but finds, rather unfortunately, that waste plastic is more readily available. “The need for education around the negative impacts of this material, along with how consumers and producers can help alleviate the issues mean I will continue to pioneer ways to work with plastics. After all, it’ll be around for many years to come.”
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