Humans’ Relationship with Non-Human Animals

By: Megan Hassi

Megan Hassi (myself), Species Displacement, quilt square, 2023

My quilt square is dedicated to non-human life and our relationship as humans with other species on earth. Through my work, I convey that humans' relationship with non-human animals post-industrialization is misguided in viewing animals as resources and leading to the destruction of their populations and ecosystems. By analyzing artworks and readings that highlight how humans have directly led to habitat loss and extinction of creatures on earth, I aim to call for a shift in the perspective on animals by increasing their respect and value in society. I draw heavily from the ideas of humans' damaging relationship with animals and human-caused degradation leading to consequences for other species such as habitat loss and extinction. By examining complex readings from authors like Jeremy Rifkin along with various works showcased in Art and Climate Change, my project concludes that to mend broken relationships with non-human animals it is essential to break away from our human-centered lens and understand how our actions impact the life around us, which will in turn fight climate change. Often we focus on how humans will be impacted by a changing climate but through my analysis and quilt square creation, I emphasize how biodiversity loss and species extinction are huge current threats.

I take a lot of inspiration from the readings by Rifkin, especially the Age of Resilience. Rifkin states, “We are of the planet both literally and figuratively– which ought to shatter the cherished notion that our species is somehow separate from nature” (Rifkin, p. 5). I love this quote because it encapsulates how humans are a part of nature, not a separate entity with special rights over the rest. We are creatures of the planet and this relationship connects us to other living beings across the globe. I focus on some of the works from Art and Climate Change on this subject and expand on this with personal knowledge, research, and personal experiences. I would like to focus on how all the works I chose present compassion toward non-human life and illustrate Rifkin’s idea of “biophilia consciousness”. Aside from the inspiration gathered from the class book, Art and Climate Change, the art library books on climate change were used.

The book Let the River Flow helped me understand the theme I am conveying because it focuses on Indigenous ecological perspectives and this is something essential to include in my topic. Indigenous cultures have a drastically different relationship with nature and other living species compared to Western ideals and they foster more respect and nurturing. A shift towards these ideals would be healing and would help combat the destruction caused by our current capitalist exploitation of living creatures and our neglect of climate impact on all living things. Another book is Ways of Being: Animals, Plants, Machines : The Search for a Planetary Intelligence which explores the intelligence of non-human life and how this connects to humans' place in the world. I liked this concept because it provides evidence for why humans are wrong in feeling this sense of supremacy over other creatures. This book helped exemplify the inherent value other creatures hold outside their benefit to humans.

For the physical creation of my square, I presented a simple visual portraying my theme of human relationship with non-human animals that meshes well in combination with other squares in the greater quilt creation (fig. 2). I used a piece of recycled navy blue fabric as the background to represent the night sky. Then using bedazzled sparkly gems to represent the stars and white paint to connect the dots I made the constellation Canis Major, or “big dog”. At the bottom of the square, I used recycled paper to cut out a skyline silhouette that the constellation rests above. Often in ancient societies, they believed that when great heroes passed away they were enshrined in the sky in the form of constellations. In showcasing a constellation of an animal with the setting of a city skyline I aimed to represent how human industrialization has displaced animals leading to endangerment and extinction.

As humans continue to develop, they transform natural ecosystems and cause habitat loss. Selfishly, humans view themselves as being above other animals since our society is so well developed and this leads to us feeling the authority to “play God” and determine the fate of other living things. An additional meaning of the animal represented as a constellation is to exemplify how in ancient cultures animals were much more respected than they currently are. There was a time when they were so well valued that people looked for them in the stars and placed meaning into that. However, come industrialization the culture of capitalism led to viewing animals as resources rather than valued creatures because we created a culture based on profit. This societal mindset of humans' relationship with non-human animals is what has led to the harm to animal populations we see today. Without the respect for these creatures, humans have no problem replacing natural ecosystems with cities and farmland, domesticating and breeding animals for money, and tearing down forests that were once home to valuable life. So, by including the animal constellation amidst a fully industrial skyline I represent the dichotomy between humans and the environment that defines our modern society.

Our current state is “forcing a reevaluation of our relationship to our fellow creatures, and our place on earth” (Rifkin, p. 5). This is the action behind my message for my quilt square because I hope that shedding light on this issue will help illustrate the need for a changed outlook on our relationship with animals. Many of the works we explored in class, such as Olafur Eliasson, Ice Watch, 2014, Place du Panthéon, Paris, 2015 (fig. 3), were created by artists who were hoping to spread a larger message about climate change through their work. This concept inspired me, and I wanted to invoke that same feeling of inspiring action. Just as Eliasson hoped to connect people to an issue that seems far away from them by brining melting ice caps into the city scene, I want to bring attention to an issue people are disconnected from. My work calls for putting aside the selfish perspective of humans where we see animals as resources and claim ownership of the entire earth. It calls for beginning to reconnect with nature in a way that includes rebuilding respect for other creatures.

Shimabuku, The Snow Monkeys of Texas: Do snow monkeys remember snow mountains, film, 2016

The first artwork that inspired my piece is The Snow Monkeys of Texas: Do Snow Monkeys Remember Snow Mountains? (2016) by Shimabaku (fig. 4). This is a film that showcases a group of macaque monkeys, native to the snowy mountains of Japan, living on a reserve in Texas and experiencing a patch of snow for the first time. They were moved to Texas as a result of the deterioration of their native environment which exemplifies the larger theme of how human-caused climate change is altering the livelihood of other species, requiring even more human manipulation and intervention that disturbs the natural ways of being. The nature of the video capturing these monkeys in observation is such a raw showcase of humans' impact on animals. The artist has not manipulated the environment but rather has used the observer's point to encapsulate the larger manipulation of animals by humans.

Antje Majewski, Passagen, painting, 2019

The second work that inspired me is Passagen by Antje Majewski (fig. 5). This is a painting illustrating the path of bark beetles through trees. The beetles never disturbed these particular trees until the warming of the earth forced them to migrate. Additionally, tree farms utilizing monoculture allow these beetles to spread easily and become a major threat. This work intends to represent a broader message of how the destruction caused by the bark beetles is a direct result of climate change and human action as warming temperatures and monoculture trees cause the issue. From my perspective, the creation of a beautiful art piece from this naturally occurring pattern reflects that the artist is not resentful towards bark beetles for the destruction they are causing. Instead, the blame is on humans for the destruction of anthropogenic climate change and how it has disrupted natural ecosystems.

Fiona Macdonald, Foxing, multimedia installation, 2017

The third artwork I used for inspiration is the public installation Foxing by Fiona Macdonald (fig. 6). This piece is a multimedia work including video, language, and real fox material. It provides a commentary on urban foxes who have adapted to life in cities after losing their natural habitats as a result of anthropogenic destruction. Similar to the bark beetles in Passagen, these foxes are only integrated into human spaces because humans have forced them out of their ecosystems. The artist included an educational aspect where visitors could learn more about the urban foxes and simulate their experience. This educational aspect is especially crucial to reaching audiences about the issue at hand because with more complex art pieces it can be difficult for a general audience to understand the message. I respect the aim to educate others and emulate that through my own work.

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Saodat Ismailova, The Haunted, film, 2017

The last work that I used for inspiration is The Haunted by Saodat Ismailova (fig. 7). This work is a film that showcases a mythical tiger modeled after the extinct Turan tiger as it interacts with its native land. The film includes a soliloquy with a female voice whispering “My descendants will know you, I will not need to tell them about you, they will inherit my memory, which is engraved deep into my skin”. Ismailova’s film provides important commentary on how humans have led to the loss of an entire species. The connection between the loss of an animal to the loss of culture is extremely profound and exemplifies the positive relationship humans can have with animals and how damaging it is to lose that. The impact of collective memory and their idea of a species that once roaming now only exists by memory and imagination is heavy for the audience and may invoke sadness. One of the Ebooks I looked into titled Climate, Habitats, Environments by Ute Meta Bauer carries themes similar to what this work is conveying. In the foreword, they state “There are many overlooked dimensions to this threat, including spiritual and cultural loss” (Bauer, 2022, p. 16). This refers to how a changing environment affects culture, such as the loss or migration of humans and other species. Additionally, in Imagining Extinction Ursula K. Heise notes, “Part of national identity and culture itself seems to be lost along with the disappearance of nonhuman species” (Heise, 2016). These readings connect the loss of animals to humans by emphasizing the cultural importance of animals, just as Ismailova does in her work.

These works all exemplify Rifkin’s concept of biophilia consciousness in different ways. Rifkin explains how a general love for nature will facilitate more mindful relationships with living things. Creating works that bring light to the destruction humans are causing to other species helps audiences take a step back and understand the flaws in our relationships with nature, hopefully, these works aid in this realization and biophilia consciousness. Just like how the quilt has tied together so many seemingly separate topics under the umbrella of climate change, all living things no matter how disconnected they seem are part of the larger umbrella of earth. We are connected to other species and to not only slow the impact of climate change but mend the damage it has already done, we must instate a greater sense of respect between humans and non-human life alike.

Looking forward, I hope that my quilt square and analysis not only bring upon new ideas surrounding the topic of non-human animal life in an informational sense but also in a way that inspires change. By bringing light to the flaws in humans' outlook towards other living beings on earth, I aim to inspire introspection that allows the viewer/reader to reflect on their perspectives towards animal life and how we as humans coexist. Then once the audience can look within, they can apply it outwardly by acting in ways that promote a mended relationship with non-humans that reflects biophilia consciousness and overall respect. The key to this “misguided” relationship that we hold is that it can be unlearned. Action may begin with individual patterns such as rescuing pets over buying from breeders, consciously consuming humane products, or simply paying respect to an animal’s life before consuming it as many cultures practice. Once we remove the human-centered lens and apply respect for living beings we must look beyond. What is clear is that to solve larger issues such as habitat loss and species extinction, this respect must be applied on a much larger scale which will first require healing with each other. Building strong human relationships will in turn increase our capacity to act justly towards other life. The disruption of natural ecosystems associated with disrespecting non-human animals and the culture of ownership of animals as profit is perpetuating the climate crisis as we foster mass industrialization, pollution, and extraction. Turning away from extreme land change and polluting industries as a society will mitigate the consequences to surrounding ecosystems. So, by mending our relationships with non-human animal life we will benefit them as well as ourselves, and improve the earth as a collective.

References:

Bauer, Ute Meta, ed. Climates, Habitats, Environments. Singapore: NTU Centre for Contemporary Art Singapore, 2022.

Bridle, James. Ways of Being : Animals, Plants, Machines : The Search for a Planetary Intelligence. First American edition. New York: Farrar, Straus and Giroux, 2022.

García-Antón, Katya, Harald Gaski, and Gunvor Guttorm, eds. Let the River Flow : An Indigenous Uprising and Its Legacy in Art, Ecology and Politics. Amsterdam: Valiz, 2020.

Heise, Ursula K. Imagining Extinction : The Cultural Meanings of Endangered Species. Chicago ; The University of Chicago Press, 2016.

Rifkin, Jeremy. The Age of Resilience : Reimagining Existence on a Rewilding Earth. First edition. New York, NY: St. Martin’s Press, an imprint of St. Martin’s Publishing Group, 2022.