The End of Time | Burning Man Project

Image: 'The End of Time' as seen in Black Rock Desert, Nevada

TITLE: The End of Time
ARTIST: Andrea Greenlees
26 August - 2 SeptemBER 2024

Introduction

This new public art installation was created for Burning Man 2024, for which the theme was 'Curiouser and Curiouser', inspired by the story of Alice in Wonderland by Lewis Carroll. This tale of the absurd and the nonsensical is a magical invitation to an artist and I found this year's theme impossible to resist. The artist, Andrea Greenlees collaborated with master steelworker, fellow artist and engineer, Andy Tibbetts to create the artwork, at the fantastic facility that is The Generator in Reno, NV.

'The End of Time' is a dying clock, in fact it is a murdered clock. As a consequence, Time has stopped and now it will forever be Teatime. This artwork illustrates the death of one clock, which will result in the death of all clocks and therefore Time itself. It does so in a whimsical manner designed to disturb but entertain at the same time. If you are familiar with the story of Alice in Wonderland you will know that the Queen of Hearts accuses the Mad Hatter of murdering time, which stops at 6 o'clock and remains stuck at Teatime.

'The End of Time' is a large 22 feet tall climbable installation in the form of a surreal collapsing clock, fatally pierced by a huge sword, its mechanism broken and exposed, its numerals distorted, with a giant teacup and a saucer perched precariously at the top. It is made of tubular steel, mirrored stainless steel, and aluminium, powder-coated in gold, silver, and antique bronze. It has faces on both the front and the back but there is something wrong with the display and it has curious curly hands on both sides. It also has strange spidery legs. A huge mysterious key is hanging inside it but what is it for? The teacup that surmounts the clock comfortably accommodates 6 people at a time sitting on a circular bench in a surprisingly intimate setting.

The artwork plays with the idea of Time being brought to a standstill by a violent act. This makes all clocks everywhere stop at six o’clock. Condemned to Teatime in perpetuity how do we act? Can we continue to act? Can we live without measuring Time? Do we need clocks? What is that key for? Can we unlock Time? Why does the clock have legs? Is Time running out? Too often people speak of ‘killing time’ without considering what an appalling notion that is. Instead let us seize it, live it, and experience each moment fully, before our own individual Time is up. In the meantime, as it’s six o’clock, shall we have Tea?

Climate Approach to Project

I am satisfied that for as long as I work with metal I am already collaborating with a team that will continue to work in the most environmentally friendly way that is possible. Some main considerations in future artworks:

I will look at what alternative materials I could use for future pieces.
The materials - primarily steel and Aluminum - are all sourced in the US and should it ever become necessary can be recycled.
The sculpture was fabricated locally in Reno and driven on trailers to the Black Rock Desert. It has to be separated into sections that do not exceed the maximum height and width permitted on the road and reassembled in the desert. This was planned from outset.
If I were to build on this scale in the desert again I would try to light the piece using solar power. Up to now the cost to light with solar has been prohibitive.

Carbon Emissions from Travel (tCO2e): 0.71

Carbon Emissions from Shipping (tCO2e): 1.45

Carbon Emissions from Energy Use (tCO2e): 0.47

Emissions - Other Categories (tCO2e): 8.79

Emissions - Accuracy: Accurate

Emissions Calculation Description & Methodology:

The Gallery Climate Coalition calculator and the Artist Commit data tracker were used to the produce the calculation, from numbers provided by the artist.

Waste Report Description & Methodology:

Every single shaving, splinter or fragment of metal generated in the making of this work is gathered up and recycled. In the United States, recycled steel is usually used to make another product within six months.

We are fortunate to make 'The End Of Time' at The Generator in Sparks, Reno, which is a huge makerspace where many artists have workshops and which offers all kinds of courses and events to the community. This is in close proximity to the desert where the final artwork will be exhibited. The ways in which The Generator tries to promote sustainability include diverting material from landfill by accepting donations that they then provide to their artist community to use in their work. Currently, they are producing an art show called "From Waste to Wonder" in partnership with Clean Up the Lake (a Tahoe-based organization) using trash pulled from local lakes to make art. Some of the artists working or exhibiting at The Generator focus on using found/reclaimed objects in their work.

Climate Actions Taken:

Main climate actions include

Using an easily recyclable material, where any waste goes into reuse.
Producing the artwork close to the exhibition venue, for short and local ground travel.
Working in a team community to maximize shared use of equipment, and for a shared instead of solo experience.
Reuse of the artwork in the future in a range of venues.

How did the project support staff to take climate action?

We are all burners and try to live and work in a manner aligned with the ten principles of Burning Man, and most particularly we avoid waste and we prevent MOOP (Matter Out Of Place) and we support each other.

How did the project promote collective action or movement building?

Building big art like this is a collective activity. Our team is a close team and a dedicated team and all of us regard working together on the build itself as the most fulfilling part of the entire venture, and we are committed to doing it right. We are also great believers in the power of public art to effect positive change in communities and cities long after it has worked its magic in the desert.

Reflections from Presenting Partner, Artists, and other stakeholders:

"Providing that I can sell the piece to recover its costs and ensure it gets displayed publicly for the long term, I believe any climate impact involved in its production and exhibition at Burning Man can be justified. As an artist, my prime objective is public engagement and interaction with the art at Burning Man was everything I could have hoped for. I need this to happen in the wider world.

The artwork is designed to last for as far as we can see ahead. There is no reason why it cannot be on display for decades. We hope to share it with as many people as possible over many years. It is not intended for repeated putting up and taking down, and so we hope it will be acquired by an individual or organization that can keep it open to the public for the very long term."

Exhibition credits:

Co-Artist, Engineer and Lead Fabricator: Andy Tibbetts @lostmachineandy
Fabrication Team: Skiland Judd, Lucas Janowski, Kelsey Owens, Grace Danaher, Jordan Needham
Lighting: Alysia Makes
Artist Liaison Burning Man: Peter Platzgummer

Thank you to Burning Man for the Honorarium grant and to the Lotus Art Fund for funding this project. Thank you to Haley Mellin at Art into Acres for producing the Climate Impact Report and to Jesicca Gath at Artists Commit for overseeing the submission.