That Sinking Feeling
That Sinking Feeling explores the intersection of climate change, cartography, and materiality, transforming scientific flood predictions into eerily beautiful sculptural vessels. Initially sparked by a collaboration with Depeche Golf—an alternative golf magazine—which investigated the impact of rising sea levels on historic links courses: ‘Sandwich’, ‘St Andrews’, and ‘Portmarnock’. The project evolved beyond the sport, focusing on the broader and more urgent crisis of coastal erosion and land loss.
Each ceramic vessel originates from the outline of land projected to be regularly submerged by flooding in 2050. By rendering these flood maps in three-dimensional form, the works disrupt the familiar, abstracting 2D climate data into organic, hybrid structures—part plant, part sea creature, part human. The vessels themselves hold water, mirroring the land they represent: places that, in time, will no longer be able to hold back the rising tides.
Materially, the sculptures echo the fragile landscapes they reference. The raw, textured clay evokes eroding shorelines, while smooth, oil-slick glazes hint at fossil fuel-driven destruction. The contrast between rough and refined surfaces reflects the tension between natural processes and human interference.
These works do not simply mourn loss; they challenge us to see beauty in transformation and to confront the climate crisis with both urgency and imagination. There is an eeriness to them, but also a quiet resilience—a reminder that, even in the face of submersion, all is not lost.
The situation is man-made. Temperatures are rising. Sea levels are rising. Coastlines are affected. Land is sinking. Our earth is reinventing itself. Within this reinvention process – there can be no doubt - places of huge significance to us might soon be lost. St Andrews, Portmarnock, Sandwich, the North Sea islands of Sylt and Fanø and many others more.
Using forecasts of future annual floodings, Blundell Meyer leaves the confines of 2D maps (see above), transforming the scientific data into eerily beautiful three-dimensional forms that vividly illustrate the imminent threat.
Her works render the so-called “familiar” unrecognizable, inviting us not only to question their titles, but also the narratives connected to the places they refer to.
These sculptures have a peculiar allure: their eerie beauty transcends the concept of maps or landscapes they might be based on and echoes the idea of strange hybrid species. Part plant, part sea creature, part human. Like organisms of a newly born earth – they appear almost like fossilized children of an epic battle between the natural forces. They are familiar, yet rather otherworldly.
But they are not merely dark and brooding. Working against the extreme gravity of the impending climate catastrophe, the artist also seems to offer a glimpse into a future that may be sinister, yet fascinating, while at the same time maintaining a glimmer of hope amidst the darkness. And, one could be surprised, there is also a certain irony to them. Maybe even humour.
They might be cyphers of the land fighting against the ever-greedy floods, but they are – on the other hand - also vessels. Capable of holding water. Vases.
The materials echo the very elements of our coastal landscapes: water of the sea, sand of the eroding shores, and the earthy essence of clay and glaze. The colours and feel of Blundell Meyer’s creations, from raw, textured clay to slick, glossy, oil-like glazes are telling. They speak of the dichotomy of natural landscapes and Anthropocene disruption.
And then: Each piece also seems to capture the resilience and beauty that endure amidst all the turmoil. As we are drawn into the mysterious depths of Blundell Meyer’s creations, we might just find the inspiration to confront the horrendous crisis with renewed strength and consideration. They want us to rethink our relationship with the environment. We need to take quick and fundamental action.
In that sinking feeling, they whisper a message of hope, reminding us that maybe not all is lost.’
—Words by Mark Horyna
Sketch development: ‘St Andrews’
Sketch development: ‘Portmarnock’