Ten years ago, I had my first exhibition here. I had no idea if it would work or was at all possible, but with a few small steps and a very steep learning curve, I made my first sculpture, called "The Lost Correspondent." Teaming up with a marine biologist and a local dive center, I submerged the work off the coast of Grenada, in an area decimated by Hurricane Ivan. And then this incredible thing happened. It transformed. One sculpture became two. Two quickly became 26. And before I knew it, we had the world's first underwater sculpture park.
10年前, 我在這裡舉辦了我的第一次展覽。 我不知道這是否行得通, 或者說是否有可能, 但隨著少許的小步驟, 及相當快速的學習, 我完成了我的第一件雕塑, 名叫" 遺失的通訊員 " 我與海洋生物學家 和當地的潛水中心合作, 把這件作品沉放到 格林納達島的海岸, 一個被艾文颶風毀滅的地方。 然後難以置信的事發生了。 它變形了。 一個雕塑變成兩個 很快地,兩個變二十六個。 在我還沒有反應過來的時候, 我們有了全球第一座 水底雕塑公園。
In 2009, I moved to Mexico and started by casting local fisherman. This grew to a small community, to almost an entire movement of people in defense of the sea. And then finally, to an underwater museum, with over 500 living sculptures. Gardening, it seems, is not just for greenhouses. We've since scaled up the designs: "Ocean Atlas," in the Bahamas, rising 16 feet up to the surface and weighing over 40 tons, to now currently in Lanzarote, where I'm making an underwater botanical garden, the first of its kind in the Atlantic Ocean.
2009年,我搬到墨西哥, 藉由雕塑當地漁民開始了我的生活。 他們漸漸地成為一個小團體, 後來幾乎發展成為 人們保護海洋的運動。 最後,變成一個水底博物館 有超過五百個栩栩如生的雕塑 園藝,不僅是溫室所特有的。 之後我們放大了一些設計品 : 這是在巴哈馬群島的" 海洋地圖集 ", 雕塑高達16英呎 超過40噸重, 最近在蘭薩羅特島 我在製作一個水下植物園, 這是在大西洋第一個 水下植物園的嘗試。
Each project, we use materials and designs that help encourage life; a long-lasting pH-neutral cement provides a stable and permanent platform. It is textured to allow coral polyps to attach. We position them down current from natural reefs so that after spawning, there's areas for them to settle. The formations are all configured so that they aggregate fish on a really large scale. Even this VW Beetle has an internal living habitat to encourage crustaceans such as lobsters and sea urchins.
每一個項目,我們都使用那些 能夠促使生命生長的材料和設計; 我們使用一種長效型中性的水泥, 它提供了穩定永久的平台。 這些雕塑上的紋理讓珊瑚蟲得以附著。 我們把它們安置於水流 經過天然珊瑚礁的區域, 所以珊瑚蟲產卵之後, 它們可以在這裡定居下來。 這些雕塑和珊瑚蟲成為一體 因此吸引大量的魚群聚集。 即使這台福斯金龜車 也有一個內部棲息地 可以促進一些甲殼類動物, 像是龍蝦和海膽來棲息。
So why exhibit my work in the ocean? Because honestly, it's really not easy. When you're in the middle of the sea under a hundred-foot crane, trying to lower eight tons down to the sea floor, you start to wonder whether I shouldn't have taken up watercolor painting instead.
那麼 我為什麼要在海洋 展覽我的作品呢? 說真的,這絕非易事。 當你在海中央, 100 英呎起重機下面, 試著把八噸重的雕塑 下放到海床上時, 你會開始想 : 我是不是應該畫畫水彩畫就好了?
(Laughter)
(笑聲)
But in the end, the results always blow my mind.
但最終,這些成果總是讓我驚豔。
(Music)
( 音樂 )
The ocean is the most incredible exhibition space an artist could ever wish for. You have amazing lighting effects changing by the hour, explosions of sand covering the sculptures in a cloud of mystery, a unique timeless quality and the procession of inquisitive visitors, each lending their own special touch to the site.
海洋是最不可思議的展覽空間 是藝術家最渴望的。 你有隨著時間而改變 的美麗燈光效果, 捲起的沙粒覆蓋了雕像, 為其帶來一種神秘感, 一種獨特的永恆特質, 還有好奇的游客們 給這些雕塑帶來獨特的接觸。
(Music)
( 音樂 )
But over the years, I've realized that the greatest thing about what we do, the really humbling thing about the work, is that as soon as we submerge the sculptures, they're not ours anymore, because as soon as we sink them, the sculptures, they belong to the sea. As new reefs form, a new world literally starts to evolve, a world that continuously amazes me. It's a bit of a cliché, but nothing man-made can ever match the imagination of nature.
幾年後, 我逐漸意識到 我們的作品的最偉大之處 , 真正讓我們有敬畏之心的地方在於 當我們把雕像放到海裡的時候 它們就再也不屬於我們的了, 因為就在我們沉入它們的瞬間, 那些雕塑,就屬於大海的了。 當新的珊瑚礁成型的時候 一個新的世界就開始出現, 一個讓我驚艷不斷的世界 這也許是老生常談, 但是任何人工的東西都無法與 大自然的想像力媲美。
Sponges look like veins across the faces. Staghorn coral morphs the form. Fireworms scrawl white lines as they feed. Tunicates explode from the faces. Sea urchins crawl across the bodies feeding at night. Coralline algae applies a kind of purple paint. The deepest red I've ever seen in my life lives underwater. Gorgonian fans oscillate with the waves. Purple sponges breathe water like air. And grey angelfish glide silently overhead.
海綿動物就像是臉上的血管, 鹿角珊瑚改變了雕塑的形式, 海毛蟲在進食時, 留下了白色的線條 被囊動物像是從臉部爆炸竄出。 海膽在晚上覓食的時候 爬過雕塑身體。 珊瑚藻塗上了一種 類似紫色的塗料。 這是我在海底見過最深的紅色 海扇珊瑚隨著水波蕩漾。 紫海綿在水裡的呼吸像 呼吸空氣一樣 而灰色的神仙魚靜靜地從頭頂劃過。
And the amazing response we've had to these works tells me that we've managed to plug into something really primal, because it seems that these images translate across the world, and that's made me focus on my responsibility as an artist and about what I'm trying to achieve. I'm standing here today on this boat in the middle of the ocean, and this couldn't be a better place to talk about the really, really important effect of my work. Because as we all know, our reefs are dying, and our oceans are in trouble.
而這些作品給我們 帶來了驚人的反饋, 告訴我,我們成功地帶入一些 非常主要的東西, 因為似乎這些圖片無需翻譯 就可以在全世界傳送 而身為一位藝術家, 這使我關注到自身的責任, 以及我要嘗試達到甚麼目標? 今天我站在海中央的這條船上, 沒有比這裡更適合的地方 去談論我的作品 真正重要的效應是什麼, 因為我們都知道, 我們的珊瑚礁正在死亡, 而我們的海洋正遇到麻煩
So here's the thing: the most used, searched and shared image of all my work thus far is this. And I think this is for a reason, or at least I hope it is. What I really hope is that people are beginning to understand that when we think of the environment and the destruction of nature, that we need to start thinking about our oceans, too.
事情是這樣的 : 迄今為止,我所有的作品中 被使用、搜索和分享 最多的照片是這一張, 我想這背後是有原因的, 或者說至少我希望背後有原因, 我所希望的是人們開始了解 當我們談起環境和 對大自然破壞的時候, 我們也要想想我們的海洋。
Since building these sites, we've seen some phenomenal and unexpected results. Besides creating over 800 square meters of new habitats and living reef, visitors to the marine park in Cancun now divide half their time between the museum and the natural reefs, providing significant rest for natural, overstressed areas. Visitors to "Ocean Atlas" in the Bahamas highlighted a leak from a nearby oil refinery. The subsequent international media forced the local government to pledge 10 million dollars in coastal cleanups. The sculpture park in Grenada was instrumental in the government designating a spot -- a marine-protected area. Entrance fees to the park now help fund park rangers to manage tourism and fishing quotas. The site was actually listed as a "Wonder of the World" by National Geographic.
自從做好這些雕塑群後, 我們已經看到一些現象 及一些出乎意料的結果。 除了創造出八百平方米的 新珊瑚礁棲息地, 到坎昆海洋公園的遊客 如今會把他們的時間 分一半給博物館, 一半留給自然珊瑚礁, 給自然中壓力過大的區域 留出了重要的休息時間。 到巴哈馬群島“ 海洋地圖集 ” 的游客注意到 附近煉油廠的漏油事件。 隨後而來的就是國際媒體 施壓當地的政府 要他們發誓得花一千萬美金 在海岸清潔上。 格林那答的雕塑公園 政府起了很大的作用, 指定這地方為一個水底保護區景點 現在公園門票費可以 資助公園管委會 管理旅客及釣魚配額。 此景點實際上已被 國家地理頻道列為世界奇觀
So why are we all here today in this room? What do we all have in common? I think we all share a fear that we don't protect our oceans enough. And one way of thinking about this is that we don't regard our oceans as sacred, and we should. When we see incredible places -- like the Himalayas or the La Sagrada Família, or the Mona Lisa, even -- when we see these incredible places and things, we understand their importance. We call them sacred, and we do our best to cherish them, to protect them and to keep them safe. But in order to do that, we are the ones that have to assign that value; otherwise, it will be desecrated by someone who doesn't understand that value.
那麼我們今日齊聚在此的原因是甚麼 ? 我們有甚麼共通點 ? 我認為我們共同在承擔一種恐懼 就是我們對我們 的海洋保護仍不足。 而這其中一個原因是 我們不認為我們的海洋是神聖的, 但我們必須。 當我們看到美到不行的地方 像是喜馬拉雅山或聖家堂, 或甚至是蒙娜麗莎-- 當我們看到這些美到不行的地方或東西, 我們明白它們的重要性, 我們會說它們是神聖的, 我們會竭盡所能的珍習它們保護它們 並維護它們的安全。 但為了這麼做, 我們就是那些 必須確保它們的價值的人 ; 否則,它將會因為 不懂它們價值的人而變得不神聖。
So I want to finish up tonight by talking about sacred things. When we were naming the site in Cancun, we named it a museum for a very important and simple reason: museums are places of preservation, of conservation and of education. They're places where we keep objects of great value to us, where we simply treasure them for them being themselves. If someone was to throw an egg at the Sistine Chapel, we'd all go crazy. If someone wanted to build a seven-star hotel at the bottom of the Grand Canyon, then we would laugh them out of Arizona. Yet every day we dredge, pollute and overfish our oceans. And I think it's easier for us to do that, because when we see the ocean, we don't see the havoc we're wreaking. Because for most people, the ocean is like this. And it's really hard to think of something that's just so plain and so enormous, as fragile. It's simply too massive, too vast, too endless. And what do you see here? I think most people actually look past to the horizon. So I think there's a real danger that we never really see the sea, and if we don't really see it, if it doesn't have its own iconography, if we miss its majesty, then there's a big danger that we take it for granted.
所以我想談談神聖的事物 來結束今晚的演講。 當我們在為坎昆景點命名時, 我們會稱它為博物館 有一個非常重要而單純的原因 : 博物館是一個保存,保護及教育的地方, 博物館是我們維護 有極大價值物品的地方, 在這裡,我們因它們本身的價值 而單純地珍惜他們。 如果有人扔一個雞蛋在西斯廷教堂, 我們都會抓狂。 如果有人要在大峽谷的底部 蓋七星級的旅館, 那麼我們嘲笑 並強迫他們離開亞利桑那州。 然而,我們每天採挖、污染 和過度捕撈我們的海洋。 我認為我們很容易可以做到這一點, 因為當我們看到海洋時, 我們看不到我們正在大肆破壞它。 因為大部分的人, 看到的海洋是如此...... 且很難想像 平靜巨大的海洋 竟是如此的弱不禁風。 海洋是如此的龐大、廣闊、無邊際。 但你在此看到甚麼? 我認為大多數人對海洋 實際上仍停留在過去的印象。 所以我認為真正的危機就是 我們從未真正的了解海洋, 而如果我們不真的了解它, 如果它沒有了獨自的精神象徵, 如果我們錯過對它的尊重, 之後我們理所當然的 會有大危機。
Cancun is famous for spring break, tequila and foam parties. And its waters are where frat boys can ride around on Jet Skis and banana boats. But because of our work there, there's now a little corner of Cancun that is simply precious for being itself. And we don't want to stop in Grenada, in Cancun or the Bahamas. Just last month, I installed these Four Horsemen of the Apocalypse in the Thames River, in central London, right in front of the Houses of Parliament, putting a stark message about climate change in front of the people that have the power to help change things.
坎昆是著名的春假地點、 龍舌蘭酒和泡沫派對的旅遊勝地。 那邊的水可以讓大學聯誼會男生 在附近騁馳水上摩托車及香蕉船。 但因為我們的作品在那邊, 坎昆那裏現在有一個小角落, 那簡直是太珍貴了。 我們不想只停留在格林納達、 坎昆或巴哈馬群島。 就在上個月,我在泰晤士河畔 安置了「末世四騎士」。 就在倫敦市中心 國會大廈的前面 把一個氣候變化鮮明的訊息 放在人們面前, 來幫助改變獲得動力
Because for me, this is just the beginning of the mission. We want to team up with other inventors, creators, philanthropists, educators, biologists, to see better futures for our oceans. And we want to see beyond sculpture, beyond art, even.
因為對我而言, 這個使命僅僅是剛開始而已。 我們必須與其他發明家、 創作家、慈善家、教育工作者、 生物學家一起合作, 讓我們可以看到海洋更美好的未來。 而我們甚至也想看到 人們在雕塑與藝術背後 獲得真正的啟發。
Say you're a 14-year-old kid from the city, and you've never seen the ocean. And instead of getting taken to the natural history museum or an aquarium, you get taken out to the ocean, to an underwater Noah's Ark, which you can access through a dry-glass viewing tunnel, where you can see all the wildlife of the land be colonized by the wildlife of the ocean. Clearly, it would blow your mind.
假設你現在是個14歲的都市小孩, 而你從未見過海洋。 而僅是去過自然歷史博物館 或一個水族館, 你被帶到海裡 來到一個水下的諾亞方舟, 透過水底的透視玻璃隧道, 你看到了那裏生長了 世上所有的海洋野生動物。 顯然地,這會讓你永生難忘。
So let's think big and let's think deep. Who knows where our imagination and willpower can lead us? I hope that by bringing our art into the ocean, that not only do we take advantage of amazing creativity and visual impact of the setting, but that we are also giving something back, and by encouraging new environments to thrive, and in some way opening up a new -- or maybe it's a really old way of seeing the seas: as delicate, precious places, worthy of our protection.
所以讓我們深思熟慮一下。 誰曉得我們的想像力及 意志力會帶領我們到哪裡 ? 我希望藉著把我們的藝術 帶入海洋的同時, 我們不僅從神奇的創作得到益處及 步置的視覺享受, 我們也能取回一些東西, 藉由鼓勵新環境的復甦, 並以某種開創式新的-- 或只是一個非常古老的方法 來了解海洋是個 : 精緻、珍貴 值得我們保護的地方。
Our oceans are sacred.
我們的海洋是神聖的,
Thank you.
謝謝各位。
(Applause)
( 掌聲 )