uMuthimkhulu We Mpilo

Abstract

The Phylogenetic Tree of Life sculpture titled uMthimkhulu We Mpilo is a dynamic public art that explores the evolution of life and the interconnectedness of life organisms. This artwork is a visual representation of the evolving relationship among species and offers an artistic interpretation of a phylogenetic version. The sculpture offers an interpretation of the tree of life, designed to entice viewers to consider the relationship between biodiversity and sustainability reflecting on models of the natural world. The sculptural project was a response to the call to create works that critically engage with sustainability: reduce, reuse and recycle. It is part of a larger UNISA Art Walk project located at the University of South Africa (UNISA) Florida Campus. The sculpture contributes to the project's objectives of incorporating artistry among iconic institutional buildings to create a lively place with sustainable public art pieces. The UNISA Florida Campus's Calabash Building, NB Pityana Building, and GJ Gerwel Building form the main sculpture precinct designated for the Art Walk. Many departments, mostly allocated to science, engineering, technology, agriculture, and environmental sciences, are housed in these buildings. The inclusion of the uMthimkhulu We Mpilo to this campus advances research and strengthens science and art related research initiatives. The sculpture stands prominently and can be viewed by people who frequent the Art Walk area. It promotes social cohesion and collaboration among students, staff, and artists beyond adorning the campus.

The problem of the current ecological crises in the world forms a foundation of the artwork. Planning and development of the project responded to how materials can be reshaped and repurposed to provide 3-dimensional forms to explore the interrelationships of all life. As artists, we challenged the viewer's understanding of evolution and merged the relationships between different species in stylised depictions of biological forms. Invertebrates, vertebrates, sponges, and fungus are some examples of them. Each of these grouping points to interdependence of life by adding to the imagined ecological fabric of our world. Among the simplest multicellular animals are sponges, which belong to the phylum Porifera. By allowing water to pass through their porous bodies and collect nutrients, these species operate as filter feeders. The absence of specialised tissues and organs sets sponges apart from more intricate species making their ecological value to be immense as they are essential for the cycling of nutrients and water filtration, which keeps the ecosystem healthy, and they offer a home and refuge for a variety of marine animals. This selection and focus on the simple life form in this sculpture becomes metaphoric for the larger project, adding conceptual depth to the idea of recycling. The top section of the sculpture references vertebrates, which include fish, amphibians, birds, reptiles, and mammals, all animals that have back bones. The creative research methodology is grounded in the conceptual and scholarly framework of sustainable development goals and biodiversity (SDGs). Institutions of higher learning play a pivotal role in this relationship by providing education and research that foster an understanding of biodiversity's importance in achieving these goals. By promoting interdisciplinary research, this artwork prompts students to reflect on global challenges related to biodiversity loss and ecosystem degradation. As higher education institutions can act as catalysts for community engagement and policy advocacy, the artwork adds to initiatives that align with the SDGs. Our sculptural contribution alludes to the several sculptors whose creations highlight the fragility and beauty of ecosystems. For example, artists such as Andy Goldsworthy’s site-specific pieces that honour the environment. In contrast to Goldsworthy, we used creative techniques including metalwork cutting, welding, wood carving, engraving and stacking to bring the sculpture to life. These techniques speak to the various patterns of building in relation to industry. The process entailed detailed research, multiple maquettes, creating stencils, and developing final forms as independent units that could be assembled on site. The sculpture was created with the idea that continued rusting will ultimately integrate materials and colours. This way the work will constantly evolve and not remain static.