Jon Homewood’s Vanishing Nature captures a compelling dialogue between human actions and nature’s uncertain future.
Each sculpture, crafted from discarded materials like soda cans, ring pulls, and wires, echoes the environmental crisis created by our single-use, disposable culture.
These works of art highlight not only the decimation of habitats but also the insidious creep of human-made waste into the very fabric of life.
But Homewood doesn’t just dwell on destruction; his pieces provoke the question: What if? Could evolution somehow twist this tide of waste, turning it into a grotesque rebirth?
Nature is already absorbing our debris—microplastics in oceans, chemicals in wildlife, and mutations spurred by pollution. These sculptures, reflecting a fusion of organic form and industrial refuse, speculate on a future where nature adapts, but at a cost. What will evolution produce if nature must evolve in a toxic world of our making?
Through this provocative vision, Homewood’s art challenges us to confront not just what we’ve done, but what could come. The vanishing of natural ecosystems is a warning, but also a call to imagine a future where we might rewire our relationship with the environment. Instead of resignation, Vanishing Nature calls for a rethink—a moment of reckoning where the choice is clear: continue on the destructive path or innovate towards harmony before the mutations become irreversible.
Date created: 2024 60 cm x 55 cm x 55 cm Stainless steel and soda cans
The Thinker from the Vanishing Nature series is a haunting reflection on the devastating impact of human industry on the natural world. Fashioned from hundreds of aluminum soda can strips, the sculpture is a reimagined version of Rodin’s The Thinker, an iconic figure of contemplation.
But in this piece, the material itself—thin, metallic strands from discarded cans—adds a layered depth of irony. Aluminum, derived from bauxite mines, is the very agent of destruction contributing to the loss of forests and habitats.
30 cm x 30 cm x 100 cm Copper and steel chainmail, recycled computer cables, acrylic dome
Tin Lizzie is a nine-foot sculpture of an endangered Blue Iguana, meticulously crafted from approximately 10,000 soda can ring pulls over a stainless steel frame. Its spines, made from salvaged mobile phone aerials, add a striking industrial touch. Taking 18 months to assemble entirely by hand, this piece is part of the Vanishing Nature series.
This sculpture represents the skull of an Arabian oryx, intricately crafted from a woven lattice of soda can strips over a stainless steel wire frame. Part of the *Vanishing Nature* series, it serves as a haunting commentary on the exploitation of wildlife.
This model is a quirky remnant of an earlier sculpture called Tin Soldier. The model itself was built to be an exact replica of the most common gun in existence, the gun placed in the hands of every freedom fighter, terrorist, child soldier, poacher, gun aficionado and any other human with a wish to kill.
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