Sipping Only What is Sweet

Introduction

Last year I was invited to exhibit a solo show at the court-
yard gallery at the Burlington Art Centre, for the summer
of 2005. After much teeth grinding, the show was success-
fully completed and shipped to Ontario in May. In June I
flew to Ontario to complete the set up and attend the
opening. It all went very well. Now I’m famous and can
retire. Below is an excerpt from the show brochure.

Clive Tucker

Imagine a lazy, warm sunny afternoon. The blanket is spread
out on cool grass, the scent of flowers is carried on the breeze.
Marveling at the beauty of your surroundings, you prop your-
self up on your elbow and reach for another sandwich.
Somewhere nearby you hear the familiar sound of a bee
buzzing as it searches out its next flower.

Now imagine that there is no sound of bees buzzing - any-
where. Gone are the flowers and their scent. Gone are the
tomatoes on your sandwich and any other vegetables. This is
the premise of Clive Tucker's exhibit, Sipping Only What is

Sweet.

In this show, he questions humanity’s predilection for techno-
logical solutions to environmental matters and asks: “Are we
just continually creating and solving problems with the
advance of technology, or can we actually move forward as a
species in a more holistic direction?”

To express this concern, Clive Tucker has populated the
Burlington Art Centre’s (BAC) courtyard gallery with ceramic
pollinators split into three unique groups of sculptures. The
first set is comprised of identical European honeybees. This
species has been promoted largely at the expense of native
bees, and major changes in agriculture policy have been made
with virtually no regard for native bees. To add to the situa-
tion, European honeybee populations are now in decline.
The question now brought to bear is: “what will pollinate our
crops?” The second set of sculptures is of robotic pollinators:
an artistic inter-
pretation of a
possible future.
The third set is
of native polli-
nators, all dif-
ferent and rep-
resentative of
the natural bio-
diversity of the
planet.

“My current work explores that which we see everyday, and
that which we don’t want to see, specifically how we view the
environment around us and what is actually taking place

6 Potters Guild of British Columbia Newsletter

within those surroundings,” he explains.

Utilizing the site-specific garden space for this exhibition was
crucial to Tucker’s premise. He plays with the viewpoint of a
garden as a place people seek to escape the complexities of
their sociological environment. Once in the garden our eye
travels languidly over the colours and shapes of the flora, and
we are both amazed and lulled at its natural beauty.
Ironically, we seem to forget that the very gardens we escape
to are another example of humanity’s tinkering with nature.

Though proportionately accurate and detailed ‘Tucker's sculp-
tures are magnified to approximately 14”, and presented at
different levels on stands (between one to two metres high).
Bees are instantly recognizable and suggest a simplicity that is
deceiving. As well, the ceramic pollinators reflect the fragility
of the ecosystem. Yet, so large are these bees that we cannot
swat them away but are forced to consider their role in our
surroundings. Like the garden courtyard, they too are colour-
ful and pleasing to look at. However, their placement and
magnification compel the viewer to consider what they are
actually seeing and question how human activities may be
impacting not only the species, but humankind itself.

Union of Art & Science

The scientific element of this installation reflects an impor-
tant part in Tucker's art. Here, he combines two aspects of
his interests into his work. He is one of those exceptional
individuals with a background both in science and art. His
initial education led him to a degree in physics and an MSc
in applied energy (energy conservation) that he earned in his
native England.

“T’ve always had an interest in finding out how things work,”
says Tucker. “But the job I was doing after getting my degree
was routine. Art, and particularly ceramics, provided me with
the challenge to figure out how to present an idea. There's a
significant scientific component to ceramics, and always prob-
lems to solve in order to produce a finished piece.”

To date, the bees are the most significant manifestation of
‘Tucker's art and science background. “The challenge for this

show was how to present a serious subject but not make it
dull. The bees in the garden are a marriage of art and science
that results in both a visual and educational experience. It’s
an issue that’s important to the welfare of the environment,
but it’s presented in a way that’s fun to look at,” he says.

June 2005