The landscape of trauma
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The artwork Sea of Time features thousands of waterproof LED lights submerged in a pool. Made after 2011’s massive earthquake in east Japan, it honours the 16,000 people who died, many of them in the tsunamis that followed. Set in a darkened space, Sea of Time offers viewers a quiet moment to contemplate.
The work’s creator, Tatsuo Miyajima, says the bereaved families don’t seem to bear grudges against the sea, for they have spent their lives beside these waters. “That is why I thought the sea was an appropriate place of repose of the souls of the deceased.”
Jessie Boylan, Rupture (shimmer body (falling)) 2018, video still, courtesy of the artist.
Sea of Time is being shown in Tokyo’s Mori Art Museum exhibition Catastrophe and the Power of Art, featuring artists as diverse as Yoko Ono, Ai Wei Wei, Thomas Demand and Isaac Julien. Curators say it examines how art deals with catastrophes in a way the “objective” media cannot: art tells the story from a deeply personal perspective, giving more insight and catharsis.
From imagined biblical cataclysms to real events such as Pompeii’s destruction, the Holocaust, 9/11 or the 2004 Boxing Day tsunami, the world’s greatest traumas have long been subject matter for artists, whose role allows them to go far beyond traditional but usually unexpressive obelisks, plinths or stones that often serve as memorials at disaster sites.
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