Readings from The Barometer of Life
Readings from The Barometer of Life is an octet of mixed media art works; each forming a constructivist portrait of an endangered animal. Together they form a collective yarn; an encrypted tapestry; data as camouflage. Their multi-faceted drapery forming a small part, of a much bigger picture; where a quarter of all species on Earth are threatened with extinction.
The title of each work derives from a precious inventory, laying bare the building blocks of nature. Oft-referred to as The Barometer of Life, The IUCN Red List of Threatened Species™, established in 1964, is a critical indicator of the health of the world’s biodiversity. Around a quarter of the species listed on its database (approx. 169,400) being threatened with extinction.
Each of the Readings art works takes its primary title from a given animal's IUCN (2025) listing - in the form of an extended alphanumeric code - such as e.T17975A123809220 [Orangutan]. Converting this data into an equilateral data matrix code produces a graphic cipher; its components then exploded, and interwoven within the matrix of materials.
Referencing the solvent transfer technique pioneered by American artist Robert Rauschenberg's (specifically his Hoarfrost series (1974-75)), Readings from the Barometer of Life juxtaposes found printed matter with a variety of mixed media materials (cotton fabrics, paint, plastic, ink, and paper); such interwoven off-casts including the likes of ghost netting, fishing lines and a variety of preformed packaging materials; bringing to the fore our very Anthropocentric relationship with planet Earth. The toxic legacy of discarded human waste forming its own, permanent layer within our a planet's chronicle of existence.
From a practical perspective, the artworks adhere to two ancient Japanese principles - Boro (the practice of reworking and repairing textiles) and Mottainai (a sense of regret over waste). The end result being both a lament, and portentous epigraph, where commodity, disposable asset and debris juxtapose to forge a moving eight-part monograph for the Sixth Mass Extinction. Such red flag waving succinctly summarised by Tanya Steele (CBE); the first female CEO of the World Wildlife Fund for Nature (WWF).
“We are the first generation to know we are destroying our planet and the last one that can do anything about it.”
An important aspect of the Readings from The Barometer of Life project was an underlying objective to produce the works with a sustainable and environmentally responsible approach.
With that in mind, it was critical that these large artworks were largely founded on recycled materials and 'eco-friendly' principles. Working on brand new canvases would be untenable - as the production of traditional cotton canvas places an unnecessarily large strain on the environment - both in terms of cotton production and treatment (‘It can take more than 20,000 litres of water to produce 1kg of cotton' WWF), use of wood from non-FSC approved forests, and the associated carbon footprint of transport from overseas storage warehouses.
Having established that each piece would take the form of a vertical 'tapestry', this concept was delivered to British fashion designer Paul Smith, who immediately recognised the intention; generously donating a capsule collection of varying fabrics; including tests samples, offcuts and a variety of printed materials, which were all ostensibly waste items. From these superfluous textiles the eight artworks would evolve.
The Paul Smith company has adopted a sun symbol for theirPath To Sustainability - this being a drive towards promoting a more environment conscious fashion industry. Each product bearing this emblem has been produced using a minimum of 50% sustainable materials.
As the artworks came into being, and a variety of production methods were explored, it became apparent that an intrinsic 'rule of thumb' was affecting each subsequent production stage - Mottainai.
In February 2005 Kenyan Nobel Peace Prize laureate Wangari Maathai visited Japan. Here she discovered an ancient ethos whose colloquial translation read as 'What a waste!'
Mottainai stems from the words mottai (勿体), which suggests an air of importance or sanctity, and nai (無い), meaning a lack of something. Subsequently, Maathai proposed that the Japanese expression "mottainai" be used as the keyword for environmental conservation throughout the world, and the MOTTAINAI Campaign began, with its resolute mantra - Reuse Reduce Recycle.
Fifteen years on, the words of Wangari Maathai - "The environment is not an issue for tomorrow. The environment is an everyday... issue." [heard on the project film] has been closely echoed by environmental activist Greta Thunberg, with her 'house on fire' speech.
All artwork, text and images © James Straffon 2025.