SALT: Sustainable solutions to fishing quotas dropping
(Kvitbrakka AiR)
Salt was an artistic inquiry into sustainable solutions concerning the fishing culture of the Arctic village of Berlevåg. This project emerged from a residency in partnership with Kvitbrakka AIR and Havnemuseum. Using sociological methodologies, I engaged with the community to understand the significance of fishing culture to the village. By focusing on hospitality and food culture as the lens of investigation, I was able to discuss a contentious topic without fear of reluctance or lack of support from the community.
The project's first stage centred on cultural context, exploring the role fishing plays in the village while critiquing the Norwegian government's definition of sustainability. I redefined sustainable action as acknowledging respect for the land and its people. Socially engaged sustainability reduces climate impact while finding solutions for the workforce affected by eco-focused laws. This approach was driven by the growing alienation of the workforce and the emergence of far-right sentiment in response to job losses caused by declining fishing quotas. By introducing new jobs to offset lost income, not only could the rural community be saved from financial disrepair, but positive wellbeing and cultural practices could also be preserved within the community.
The project culminated in artwork that captured the cultural identity of Berlevåg, alongside a business proposal presented to the financial director of the municipality. The proposal suggested salt production using the by-products of hydrogen and the barrens sea, which, through refinement of the salt, would also produce calcium-based by-products usable in manufacturing or agriculture. I have been invited to return in 2027 to follow up on this proposal and explore how, as an artist, I can help bring it to fruition.
The arctic Fishing village, I called home for 3 months
Varanger Peninsula
While experimenting with salt for my art, I aimed to replicate its clumping effect by testing varying salt-to-water ratios, hoping to create a form of salt concrete. Although the mixture successfully solidified, it easily broke upon removal from the mould, prompting me to consider incorporating a binding agent.
While salt-curing cod for boknafisk, I became inspired by how the extraction of water from the fish caused the salt to clump together, forming micro-sculptures that were individually unique.
While running my experiments with salt, I continued collecting oral histories about the relationship between the Barents Sea and food culture. Over time, I built trust and friendships with locals and business owners. Olsen's Fishmonger played a vital role in developing accounts of the relationship between fishermen and the sea by facilitating contact between myself and the fishermen.
I took my research to the school in Berlevåg, where I made badges with the children based on questions about what they ate and their parents cooked. While working with the children to develop this project—which would later influence my work—one of them told me about troll dough, a bakeable clay made from flour and water. At that moment, I realised that my salt experiment could become a viable material for sculpture if I added just enough flour to act as an adhesive while maintaining the salt's integrity.
As I needed significant salt to produce a series of sculptures based on my research, I began using traditional salt-producing techniques to extract salt from the Barents Sea. This experience influenced me to propose that a potential sustainable business could be gourmet salt manufacturing or medical salt production as an alternative to fishing.
HOW TO MAKE SALT
Ingredients
5litres of seawater, as pristine as possible
Method
The key to making high-quality sea salt is to start with the purest water available. Avoid areas with runoff or pollution. Pristine sea or ocean water is ideal for this purpose. Use large plastic water bottles to collect the seawater. Plastic bottles are convenient, especially if you need to transport the water from a different location. Ensure that the bottles are clean and free of any contaminants.
1. Pour the collected seawater into a large pot. Place the pot over high heat and bring the water to a rolling boil. Allow it to boil for at least 6 minutes to eliminate any potential bacteria or impurities.
Carefully pour the boiled seawater into shallow, non-reactive baking dishes. Glass Pyrex dishes are preferable. Fill the dishes to a depth of about 1 to 2 inches. Cover each baking dish with a layer of cheesecloth to protect the water from debris.
2. Place the covered baking dishes outside in direct sunlight. The goal is to allow the water to evaporate naturally, leaving behind the salt crystals.
The time required for this process can vary depending on the weather, but it can take anywhere from a few hours to up to seven days.
Once the liquid has mostly evaporated, consolidate the salt crystals into one baking sheet. To ensure thorough drying, place this baking sheet in an oven with only the pilot light on. Leave it overnight to complete the drying process.
“This is the most natural artisanal process, but when the weather is not ideal, reducing the water on top of your kitchen stove until a chalky white powder forms is the best alternative. Proceed to further dry it in your oven overnight to allow it to crystallise.”
After developing a method to produce salt independently and perfecting the recipe for crafting solid salt sculptures, I exhibited a series of objects emblematic of Berlevåg's fishing culture. Drawing inspiration from historical artefacts in the Havnemuseum archives—such as hooks, halibut knives, and other unique tools—I infused my medium with a tangible connection to the town's maritime heritage.
Salt served as a symbolic totem for discussing the potential of a new manufacturing industry in Berlevåg that could respond to the ecological damage caused by fishing. It also acted as a reminder of the fundamental importance of fishing to the community. Yet, juxtaposed against this sentiment was the idea that there lay an opportunity for discovery and adaptation amidst the inevitable changes of the modern world.
Composed of 60% Barents Sea salt, 10% flour, and 30% water, the sculptures were visually striking and enticing to touch. Emphasising experiential engagement as a key component of my exhibitions, I invited the audience to interact with the sculptures, encouraging them to explore through touch and taste. This immersive approach fostered a deeper connection between observer and artwork, transcending the traditional boundaries of passive observation and creating a dynamic dialogue between creator and audience.
This project's research documentation adopted a cookbook format, documenting the diverse foods I encountered as a way for others to experience Berlevåg from afar. It bridged the gap between fine art and everyday life—a recurring theme in my previous projects.
Rather than selling a lifestyle or exposing well-known truths about fishing practices, I aimed to present information that prompted reflection on the impact of climate change on often-overlooked workers. Ecological damage could not be ignored, and the cookbook sought to shed light on the economic challenges faced by communities reliant on fishing, who feel both the effect of ecological damage and eco-conscious laws. It aimed to foster a deeper connection with the working class entrenched in the industry by including recipes, which bridge our acquired knowledge and lived experience through one of the most fundamental human practices: food.
Poster for the exhibition
The exhibition showcased sculptures, photography, illustrations, and video installations. On the left, a video demonstrated the simplicity of salt production. On the right, a sensory experience immersed visitors in the sounds of waves captured through an underwater microphone, evoking the sensation of being submerged in the ocean.