TRAVIS MITZEL


CARBON SEQUESTRATION —
2018
  1. STATEMENT
  2. DOCUMENTATION
  3. ADDITIONAL NOTES

BLACK BALLOONS —
2018
    1. STATEMENT
    2. IMAGES
    3. ADDITIONAL NOTES

GLOBAL MOSS GENERATOR —
2018
  1. STATEMENT
  2. STUDIO DOCUMENTATION
  3. CATALOG OF MOSS
  4. MAINTENANCE

PUPFISH SHELF —
2018
    1. STATEMENT
    2. STUDIO DOCUMENTATION
    3. INTERVIEW
    4. ADDITIONAL NOTES

WHY IS THE ONE WITH NO CONTROL OF ITS MOVEMENT LABELED THE INVADER? —
2018
    1. INSTRUCTIONS
    2. DOCUMENTATION
    3. ADDITIONAL NOTES

WILLING EFFORT —
2018
    1. STATEMENT
    2. MANIFESTO
    3. H.Q. DOCUMENTATION
    4. ADDITIONAL NOTES

RESPAWN —
2017
  1. STATEMENT
  2. VIDEO ARCHIVE
  3. STUDIO INSTALLATION
  4. ADDITIONAL NOTES

CUBES —
2016-2017
    1. STATEMENT
    2. IMAGES
    3. ADDITIONAL NOTES

FOETIDA BITUMEN —
2015
    1. STATEMENT
    2. IMAGES
    
PRISTINE NATURE —
2013-2017
    1. STATEMENT
    2. IMAGES
    3. ADDITIONAL NOTES

TRAVIS MITZEL 
IS A CHICAGO-PITTSBURGH BASED ARTIST FOCUSED ON EXISTENTIAL THREATS TO NON-HUMANS AND HUMANS ALIKE. WORKING TOWARDS BETTER COHABITABILITY.
Mark

PRISTINE NATURE  —  STATEMENT

The Pristine Nature series was made in response to how hopeless I feel about the current environmental crisis. I set out looking for pristine sections of land, off the path, off the side of a road, beyond a property line, but I began to realize I could never find them. The ecosystems I would visit were all novel, full of invaders and non-native species. The pollution the spaces face is always the by product of an industry, a settlement, a process conceived by humans.  How can I make a photograph of a natural space without harming it? How do we fix an environmental problem when we at large are the problem?

By using plastic film I reference the materiality of plastic as a Hyperobject. We are all always looking at plastic, there is nowhere to hide from it, there is enough plastic that we could wrap the planet. It is important to remember also that plastic lasts indefinitely so it will continue to wander the Earth interacting with ecosystems and landscapes long after people are gone. With these thoughts in my mind I began placing plastic film into landscapes I would have otherwise described as “natural” to visualize the fact that we can never again find a pristine nature on this planet. The days of diorama landscapes are gone. We are looking out through hyperobject contamination now.