The Rising Sea by El Anatsui is a naturalistic presentation of an ocean in turbulence, which elicit attention through both grotesquery and finesse. The work, which covers an area of about 14,38 by 6,90 meters, is made up of several pieces of flattened aluminum bottle tops stitched together with copper wires into a massive sheet of grey wall overlay.
To achieve the intended illusion, the artist manipulated portions of the metal fabric into large series of ridges of different sizes that combine into an irregular rhythm randomly positioned across the surface of the sheet to simulate sea waves. Beyond supporting the movements of the sea waves, the rhythm created by the raised portions of the work also provides narrow range of values that effectively bring out the three-dimensionality of the work and transforms the otherwise flat sheet into an illusionistic volume.
Like the texture of oil paints in Van Gogh’s Starry Night, the texture of the stitched pieces of metals sheets introduce energy into the work, bringing out the fluidity of the sea and the potency of the mesmeric sea waves. Indeed, improper disposal of those materials used (and many others) is causing a lot of nuisance in his home country and other parts around the globe, with the sea being the most affected. Therefore, right from the materials used to its marvelous finishing, it is not difficult to discern a blend of severe censuring and admonition in the voice of the artist. The sea is, in the way presented, depicted as rising against improper treatment; and El, by the pains taken to stitch every piece of material together, seems to emphasize the need to make it our business to salvage the sea from improper handling.
The sea, which has served as an important source of livelihood for Ghanaians over the centuries invokes multidimensional viewpoints and draws out divergent responses and reactions depending on its relationship with the people. Among the coastal dwellers (and indeed a very great population of Ghanaians), the sea is considered an important resource for commercial activities, an arena for entertainment and recreation and grounds for spiritual exploits and worship.
He himself being born in the coastal town of Anyako in the Volta Region of Ghana, El seems to know so much about the sea. Growing up, he most likely experienced the sea being perceived, treated and utilized in many different ways. Besides its major use for commercial activities and other useful ventures, he might have listened to many stories about the sea as a god (with other inhabitants), as a provider and as a friend. He might have learnt about how the sea and her inhabitants contribute to the fortunes of the people. He might have witnessed how people got healed as they bathed in the sea, or had their fortunes turned around as they threw some coins in the ocean and made their requests known to the sea.
Beyond this, he might have also been warned about the consequences of flouting the taboos and other prohibitions that regulate the “use” of the sea, including forbiddance from desecrating the sea with unhealthy practices such as defecating in the sea, throwing filth into the sea or wearing sandals or shoes in the sea and the need to observe the tabooed fishing days, and so on. Besides, another important thing which Ghanaian coastal dwellers take very seriously is the need to adhere to physical signs and conditions of the sea, which have various local interpretations and implications. For instance, there are periods when the sea is considered as “full”, during which times the sea waves “rise” and become more intense and turbulent. Fisher folks are supposed to take a rest from “climbing the sea” (as they say in the local parlance) as the sea is likely to be unfriendly, and therefore unconducive for fishing.
Factors that cause the “rising” of the sea may not be ordinarily known. However, according to coastal dwellers, there is always something sinister about a rising sea – either somebody got drowned, or someone or a group of persons might have violated the rules of the sea god – and what motivated El in his presentation of the Rising sea might not be any different from what are traditionally believed. Probably the sea is fed up with deliberate dumping of wastes and toxic materials into her bowels. Therefore, she must rise!
But the “full” or “rising” sea is not as unfriendly as it sounds. Though it prevents fishing activities, which might be one way of punishing the people for disrespecting her, it also affords the people the opportunity to dry up their canoes, mend their nets and relax in the beautiful view of the sea along the coast. The occasions of the rising sea also witness other people who just move along the shores to observe the large waves that gather in the deep ocean, roll angrily towards the shoreline and dissolve tumultuously at the shore in a creamy white lather. The views at the seashore during these periods are nothing short of aesthetical experience that is shared by different kinds of observers with different perceptions, questioning, discussing, enjoying.
In so many ways therefore, the spectacle of observers in front of El Anatsui’s gigantic reconstruction of the Rising Sea gives so much semblance to the natural phenomenon, and this is a fundamental underpinning to the success of El’s work.
Culturally, the Rising Sea could be perceived as an allusion to the dynamisms in life, which sometimes rise against human tendencies and restrict mundane behavior, at the same time ensuring regularization of natural behaviors. What is important is to identify what is causing what, and how to seek for the right solutions.
For it to be presented as an aesthetic piece of work, El is probably saying that, the Rising is Sea is frightening; it is confusing; it is chaotic. But she is still beautiful, because in the right time, when given the right treatment, she will calm down so we have nothing to fear. She is still our god, our friend, our provider and our protector.
published February 2020