In an era defined by rapid change and technological advancement, our relationship with materials has taken on new dimensions, especially with the familiar presence of plastic in our daily lives. From its origins as a natural resource to its evolution into symbol of modern consumerism culture, plastic has transformed our understanding of materials and their functions. It embodies the convenience of contemporary life while raising critical questions about our relationship with nature, our environment and ourselves.
Plastic incarnates both innovation and contradiction; it is celebrated for its unique properties and affordability while simultaneously criticized for contributing to an unprecedented waste crisis. Despite growing awareness, the consumption of single-use plastics continues to rise, reinforcing the difficulty of contemplating a society deeply cautgh in plastic consumption against common sense and in violation of our environment and ourselves.
This situation invites us to reflect on how our daily lives are conditioned by plastic, influencing not just the objects we use but also our values and perceptions of worth. We are shifting our focus from craftsmanship and durability to functionality and disposability. As we confront the realities of the Anthropocene era, we must consider how this synthetic material shapes not only our physical environments but also our interactions.
Cambodia serves as a powerful example of how single-use plastic has taken over daily life, becoming a major problem for both people and the environment. Traditional, eco-friendly materials like banana leaves and woven baskets have been replaced by cheap, disposable plastic packaging, transforming everyday habits. This shift mirrors a larger global pattern where convenience and low cost overshadow sustainable practices.
In Cambodia, the lack of waste management systems to deal with the growing plastic use has led to pollution in rivers, streets, and fields, leaving the country to deal with the consequences of this synthetic material. Plastic has become deeply implanted in both the landscape and the social fabric, changing how people interact with their environment and each other, reinforcing a culture of disposability over durability. Cambodia, like many other nations, finds itself both a consumer and a victim of the global plastic problem, highlighting the urgent need to rethink our relationship with this material.
Today, I would like to share an excerpt from my undergraduate fine arts project that explores the topic of plastic. This essay, inspired by the concept of the "artist's book," serves as a reflection on my own artistic works, which include photographies, installations, sculptures, and paintings. It presents the results of my contemplation surrounding plastic, examining two distinct timelines that correspond to different contexts: the present and the fictional.
Elora Wagner, “Back to the Future”, February 2019
“Plastic, an adjectival noun, derives from the Latin "plasticus" and Greek "πλαστικός" (plastikos), meaning "pertaining to molding." It refers to natural or synthetic polymers. The first natural plastic, latex from rubber trees, was used by the Maya and Aztecs around 1000 BC. The discovery of PVC by H.V. Regnault in 1838 marked the start of diverse plastics, which expanded with Bakelite invented by Leo Baekeland (1907-1909) and further innovations by Nobel laureates K.W. Ziegler, G. Natta, and P.G. de Gennes, leading to numerous applications. It was in the 1950s that the massive emergence of plastics profoundly transformed the world of materials, reserving for them a distinct place. While metal or wood is primarily understood through empirical methods or technical gestures, plastic polymers belong fundamentally to the realm of chemistry. Humans fabricate matter, reconstruct it, and re-envision their relationship with nature.
The unique properties and low cost of plastics have made them very popular as packaging materials, to the point that the rise of single-use items has led to a growing awareness of immense waste. Various solutions have been proposed to address this issue, such as improving synthesis processes, establishing biodegradable plastics made from plants and bacteria, as well as recycling. However, the best solution is the reduction of consumption; despite warnings, the use of this ubiquitous material has only continued to rise.
Plastic becomes a substitution, the practical ersatz of this new human generation. Lacking time or nature, plastic retains its image as an inferior material, “plastoc,” (cheap plastic) a substance lacking identity, non-noble, being marginalized from traditions and the artisanal phase. The “cheap plastic” object responds to this consumer society and an economy that is endlessly in need of renewal since it is always new and divorced from the notion of degradation. A modern material that contributes to the emergence of new hybrid materials and leads us into hyper-choice. This also transforms our conception of objects, where function takes precedence over material; it is precisely this plasticity of polymers that allows us to adjust matter to function.
Welcome to the mutation of our new generations, as well as to the disruption of our time; welcome to the Anthropocene era.
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