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Invisible Aesthetic: Mel Chin's Hyperaccumulators

 

excerpts via Eyeteeth

Mel Chin's "invisible aesthetic" 

In 1990, as part of a residency at the Walker Art Center, sculptor Mel Chin began a work every bit as monumental as Michelangelo's but far less visible: with USDA scientist Rufus L. Chaney, he planted hyperaccumulators, plants that can extract and store heavy metals from soil, at the Pig's Eye Landfill in St. Paul, a plot so polluted by incinerator ash that it's on the Minnesota Pollution Control Agency's Permanent List of Priorities. The work, a fenced-in area reminiscent of a crop circle, was called Revival Field and consisted of a target-shaped square of land circumscribed with a circle with an X in the middle, a reference to the project's pinpoint cleanup. As Pruned quotes:

The divisions are also functional, separating different varieties of plants from each other for study. In the circular field the intersecting paths create four fields where six types of plants and two pH and two fertilizer tests can occur in each quadrant. The land area between the square and circle functions as a control plot where plants will be seeded with local grasses. The design for revival field facilitates the chemical analysis of each section.

When the project concluded in 1993, research showed that Alpine pennycress was the best at leeching heavy metals, although no plants were effective enough at cleaning up the land. But it did seem to provide an expansive definition of art. Chin said, "For a time, an intended invisible aesthetic will exist that can be measured scientifically by the quality of a revitalized earth. Eventually that aesthetic will be revealed in the return of growth to the soil.

For more on Land Art, visit the Center for Land Use Interpretation's catalogue of projects.

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