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Eve-Andree LARAMEE
Brooklyn, NY
Neighborhood: Williamsburg

ARTIST STATEMENT: My omnivorous curiosity draws me to interdisciplinary research-based work that addresses the history of science, environmental ethics, natural phenomena, innovative sustainable practices and metafiction. Cultures use technology and art as devices to construct belief systems about the natural world, mediating zones between fact and fiction. I believe artists are agents of change in the evolution of consciousness. My work is a form of environmental whistle blowing and offers inventive solutions to ecological problems through low-tech DIY sensibilites combined with beautiful high-tech tools of delivery.
For the past 20+ years, I have made numerous sculptures, installations, photographs and works on paper dealing with the pollution of water with radioactive isotopes from uranium mining and milling; plutonium production for nuclear weapons research and development; and the production of fuel rods and storage of waste from the nuclear power industry.
A recent installation, “Halfway to Invisible” questions the environmental and biological impact of uranium mining in the Southwest affecting a large number of Native American nations, including the Navajo, Laguna, Zuni, Ute, Hopi, Acoma and other Pueblo cultures, many of whom worked in the 4,000+ mines, mills and processing plants. They were poorly paid, and seldom informed of the dangers of working with uranium nor were they given appropriate protective gear, resulting in increased incidents of radiation-induced cancers, miscarriages, and birth defects. I have also begun work on a project dealing with the historical streams, creeks and ponds of North Brooklyn, NY. Current projects I am working on include tracing the historical streams, creeks and springs of the Greenpoint/Williamsburg neighborhoods of North Brooklyn; a project on Yucca Mountain and the Waste Isolation Pilot Plant facilities for long-term storage of radioactive waste; a project on the radiotoxins in the Great Miami Aquifer in Ohio, among others.

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  • Halfway to Invisible
    light, video, stainless steel, photo transparancies, sound, document archive, photographs, kinetic viewer-activated sculpture
    This installation raises questions about the environmental legacy of uranium mining for atomic weapons and nuclear power, and its biological impact on the peoples of the American West. Between 1949 an

  • Halfway to Invisible (detail)
    light, photographic transparency, glass, steel, aluminum
    This image depicts one of 60 small photographic light sculptures. This one depicts a gene map superimposed on a Zuni basket, representing damage to DNA caused by exposure to radiotoxins from uranium m



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