Thoughts on the Project from Mark Dion

Comments in 2005 After First Site Visit:

Human/Nature has been a once-in-a-lifetime, dream project for me. I cannot imagine an artist endeavor more allied to the themes I have been concerned with in my artistic life and personal passions. I have been actively involved with the complex issues of international wildlife conservation for more than fifteen years, having worked on various projects and supported organizations like the WWF, Conservation International, the Wildlife Conservation Society and the Belize Zoo. Much of my artwork attempts to negotiate the shifting nature/culture boundaries established and demolished by our postcolonial and political landscape. I also have a personal passion for wild places and have traveled extensively to remote sites in the Neotropics as well as equatorial Asia. The last reason this is my fantasy project is that I visited Komodo Island, a location that has long held a special place in my imagination.

My Human/Nature residency took me to Komodo National Park, a sensational 173,300 hectare human and biosphere reserve in Indonesia. Established in 1980 and designated a World Heritage site in 1991 by UNESCO, Komodo National Park is a remarkable work in progress. The islands themselves are avid uplifted regions of sharp mountain grades and rocky streambeds and valleys of shallow soil, surrounded by waters of copious dangerous currents. Annually, savage monsoons tear through the park; however, these waters and shores nurture some of the world’s most intact and remarkably beautiful coral reef ecosystems. Compared with other regions of Indonesia, Komodo National Park’s terrestrial habitats support only a limited number of plant and animal species; however, one of those indigenous animals is so remarkable as to be practically mythic—the Ora or Komodo Orajon (Varanus komodoensis).

The Komodo monitor is the indisputable superstar of this World Heritage site. The spectacular apex predator, which can obtain a length of ten feet, is the world’s largest lizard species. They also have the most limited range of any major carnivore—the park and a few areas on Flores Island constitute the entire extent of the dragon’s range. The animal’s formidable prehistoric demeanor, ferocious lifestyle, and rarity combine to make the Komodo dragon an extremely fascinating creature. This fact makes it possible for the monitors to function as the keystone to a wider and arguably more ecologically important conservation strategy for the Lesser Sunda Islands group. Charismatic megafauna function as ambassadors for the region’s wild plants and animals, for in protecting them, the mangroves, coral reefs, savannahs, and steep angular slopes and alluvial fans are also defended.

Since my childhood, I’ve had a passionate fascination with the Komodo dragon. My enchantment was born from a Johnny Quest cartoon in the 1960s that featured Komodo dragons controlled by a sumo wrestler—they were used to guard the lair of an evil scientist. From there I built the Mattel Komodo dragon model kit and visited the San Diego Zoo to glimpse my first living specimen. From these modest and misguided seeds a magnificent tree of curiosity has sprung.

The time I spent in Indonesia touring the various treasures of Komodo National Park was inspirational and productive. My hosts, park director Dr. Ira Matheus Halim and my guide and constant companion Hendrikus Rani Siga, known to all as Henghi, devoted a great deal of time out of their already hectic schedules to host me and educate me about the park’s natural history. The generosity and courtesy of the entire park staff was exemplary. All the professionals I encountered in the ranger stations, park backlands, and floating patrol ships were engaged, intelligent, and passionate about wildlife and its protection. I spent many evenings dining and conversing with park rangers, learning the particularities of the park’s conservation and wildlife statistics, as well as the complex problems facing the park’s future.

Hengki and I rented the Mitra Bahari (“marine friend”), a sizeable boat that functioned as our base, hotel, and kitchen. In this craft the park’s highlights could be easily accessed. We snorkeled and scuba dove on the reef off the pink beach and in early evening moored off a massive mangrove in order to enjoy the spectacle of a vast colony of fruit bats embarking on their nightly feeding routine. Hengki took me to meet various people in the villages in and around the park’s protected zone. We had the opportunity to discuss the difficulties of facing the impoverished fishing communities. On several occasions I witnessed the apprehension of poachers and fishing boats illegally operating within the park’s boundaries. Hengki and Dr. Halim were frank in all discussions with me regarding their hopes for Komodo National Park, as well as in talking about the challenges and shortfalls of the park.

While visiting the park I observed more than fifty species of birds, ten mammal species, and spectacular reptiles and amphibians, including Hawksbill sea turtles, cobras, and sea snakes, and of course the Komodo monitor itself. Hengki and I hiked the ancient volcanic rugged hills of the protected zone. During our long, hard bike rides across the savannahs dotted with Lontar palms, we easily observed wild Komodo dragons, Sunda deer, and massive water buffalo. To my great surprise the real wildlife bonanza was under the park’s aquatic surface. The concealed coral reefs I was fortunate enough to dive into, were the most majestic and biologically diverse I have encountered. Indeed, it was hard to imagine reefs in a more pristine and magnificent state. I came away from the park with the impression that it is indeed an ecosystem worthy of protection. It is a great asset for the nation of Indonesia and a treasure for the world.

Project Proposal

During my stay in Komodo National Park, I often found myself marveling at the dedication, skill, and diligence of the park’s ranger staff. I enjoyed ample opportunity to meet the rangers and discuss with them the specific problems of the park, as well as their hopes and aspirations for its future. I was often struck by the nobility (a word I seldom have the chance to use) of the park’s protectors as they often had to endure hard labor and personal sacrifice to fulfill their mandate. The warden’s schedule necessitates long periods away from family and amenities. They may find themselves facing off with a band of well-armed poachers or languishing from boredom waiting for tourists who never arrive.

Resources from Indonesia and international wildlife conservation organizations are well spent on staff, enhancing the eco-tourist infrastructure, research, and educational outreach programs for local communities. Couple those expenditures with the costs of policing the protected area’s borders and there is little left for extras. In imagining a project for Komodo I explored a number of avenues in which the park seemed critically in need. The first possibility was to respond with an architectural project since a number of the field station buildings are in a dangerous state of decay due to termite infestation. Another approach would entail taking on the visitor center or museum, which are in shambles at the moment. The various exhibits are no longer able to convey much useful information, being that they have been constructed of mostly inappropriate materials for the climate. It seems to me that the visitor center could use a makeover of the most radical kind; however, this would involve a much more substantial commitment of time, energy and money…

The direction of the project I am most compelled by arises from the lack of resources and materials in the hands of the park rangers. Undoubtedly they are the park’s greatest assets after its natural resources, and yet they seem so poorly equipped; they have little access to books and printed material regarding the natural history of the region. Second, they have little to distract or entertain them in their long off-hours in the field. Often they lack quite basic materials, like their own scuba mask or flashlight. I am determined that if I am to produce a work for the park, it should function primarily for them, since their morale, continued education, and well-being would greatly benefit the park in general.

I propose to fabricate a work that functions as a mobile library and resource station for the park rangers of Komodo National Park. The structure would be locally built, employing the vernacular of the pushcart used throughout Indonesia to sell anything from stir-fry to hardware. The Komodo National Park Mobile Ranger Library would initially be sited at Loh Liang, the primary park base and most popular tourist landing location. The library portion, or top of the cart, would contain approximately 160 titles, ranging from technical works to popular natural history, phrasebooks, and subjects of local interest in Indonesian, English, Dutch, and German. A range of excellent printed works about the wildlife of the Lesser Sunda Islands group and Indonesia in general are available; however, they are extremely expensive for the park rangers (Birds of Wallacea and The Behavioral Ecology of the Komodo Monitor both cost sixty U.S. dollars!), therefore there may be only one copy, which remains in the office of the park director. These works would now be available to the ranger staff. The lower portion of the cart would house a range of practical items such as first aid materials, tools, games, and amusements. The rangers play games with great enthusiasm—ping-pong is a favorite. These items could be made available on a sign-out basis.

I propose visiting Indonesia for two weeks in the spring to work with Hendrikus Rani Siga (Hengki) on the construction and outfitting of the cart, which could be built even before I arrive. Some material I would ship, some bring, and the rest purchase in Bali or Labuan Bajo. A second cart would be constructed in San Diego, which would function as ambassador for the park and project during the Human/Nature project. This twin of the Komodo National Park Mobile Ranger Library would be an autonomous sculpture, and I would be happy to use this work to support the project’s total costs, or the park, should I be able to sell the work. Of course I cannot guarantee the sale of this work, or that all the money would be available if a gallery gets involved; however, I could imagine a significant sum may be generated on the park’s behalf.

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