Sari Carel Explores Interconnectedness Through Art and Activism

Bridging Art, Environment, And Interspecies Communication

Sari Carel discusses her creative process, the role of sound in her installations the integration of environmental activism into her art.

Sari Carel is a multimedia artist whose innovative work transcends traditional boundaries, inviting audiences to engage with complex themes of communication, perception environmental consciousness. Based in Brooklyn, New York, Carel’s artistic practice is a profound exploration of how we relate to the world around us—both human and non-human. Her projects delve into the nuances of interspecies communication and the intricate relationships between people and their environments, all while challenging viewers to reconsider their sensory experiences. As an environmental activist, Carel’s keen observations of ecosystems—whether natural or constructed—infuse her work with a sense of urgency and relevance that resonates deeply in today’s world.

Carel’s impressive body of work has garnered international recognition, with exhibitions at prestigious venues such as Artists Space, Gavin Brown’s Enterprise the Haifa Museum of Art. Her recent projects, including “A More Perfect Circle” and “The Sun Is A Mouth Of Blue,” exemplify her ability to transform everyday experiences into thought-provoking art that encourages dialogue about pressing societal issues. Through her unique approach to multimedia, Carel not only captivates the senses but also fosters a deeper understanding of the interconnectedness of our lives and the environment. In this interview, we delve into the inspiration behind her projects, her creative process the vital role of activism in her artistic journey.

Can you elaborate on the inspiration and creative process behind your project “A More Perfect Circle”?

A More Perfect Circle emerged from an experience I go through daily and I believe is shared by many people: Buying a hot beverage in a disposable cup on the way to work, a stroll in the park or meeting a friend.This quotidian, pretty banal experience was a little window into larger concerns about throwaway culture and the discard systems that shape our world. Owning a disposable coffee cup for a brief period of time, holding it, sipping from it is one of the most normal things in the world, but it also feels a bit bad for me each and every time. That feeling gave way to a curiosity that branched in multiple directions. I wanted to learn more about how this has become so normal in our culture what are the historical, economical and social forces behind this process. These are fascinating questions that took me away from a feeling of resignation and into the studio. A kind of game emerged: Can I create a whole exhibition revolving around this disposable item?

I started exploring this very familiar object through a formal prism: shape, volume, seriality, stackability repetition. A playful process that helped dislodge me from a feeling of helplessness or learned apathy. I also partnered up with Nick Hoynes, a sociology PhD candidate, while developing this work to gain insight into the larger systems that inform this daily routine.

I wanted to do all this through an emphasis on materiality and process oriented work ultimately create a series of works that are inviting to engage with on an experiential level don’t just make you feel bad.

How do you approach the translation of ideas across different modalities in your multimedia work?

Translation is one of the things that I find myself coming back to again and again, without planning to. I think it’s because there is something about the act of translation that rings so true to me. It is an act of good faith and yet it does not claim absolute truth on its side. Things change as they are translated, some elements are lost in the process and magical surprises emerge. Translation involves ongoing negotiation of meanings, intent most importantly relies on a commitment to sustained dialogue between two languages, two mediums, a maker and an audience.

What role does sound play in your installations, such as “Semaphore Island” and “Borrowed Light”?

I think I am drawn to sound because though it is not the primary sense in which we engage with our surroundings and culture, where there is a constant battle for eyeballs, it is intensely evocative. If you prioritize listening as an exercise the things you discover about the world around you are too numerous to list.

I actually came to sound from working with the moving image and thinking about film. How can I pry open a space within the conventional relationship between sound and image in film and video, but through sculpture and sound. There are also fascinating moments in history when sound was actually visualized, such as the phonautograph, a pre-analog technology I used to create Semaphore Island and materialize extinct bird songs.

How do you integrate environmental themes and activism into your art practice?

For me art is a richly layered world, but I don’t want to just stay in this one, relatively insulated world. I feel a great need to connect with others around the things that I care (and worry) about. I see many of my art projects as potent moments to facilitate environmental activism with grassroots organizations and groups. My life as an artist and my life as an activist are interconnected.Art has the power to engage us with things that can be new or scary and connect us with others towards a shared goal. Activism does exactly the same.

Could you share more about your collaboration with organizations like KODA and how they influence your projects?

KODA supports artists in an incredibly agile and effective way. I have come to them with ideas that connected the artistic process with environmentalism, sociological research, public engagement and many partnerships. These multifaceted ideas are rarely tied together in a neat ribbon and KODA was able to handle that without trepidation. They continued to support me with logistics, fundraising and strengthening partnerships, whether it was with a public library branch, a community garden or a well-known author. KODA understands that artists should be supported without conditions. That doesn’t mean at all that there is a blank check, but that there is trust in an artist’s vision and their ability to bring something new and meaningful into the world.

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