Sacrifice Zones: S.O.S.

Consisting of nine DC motors, nine perimeter trip alarms, wood logs, and custom electronics, S.O.S. is a sound artwork that is a commentary on the Athabasca tar sands sacrifice zone; S.O.S. sounds our reluctance to listen or act on the destructive extraction methods of the oil & gas industry. DC Motors churn out an S.O.S. morse code distress call; the movements of which never quite activate the attached perimeter trip alarms. The distress call goes unanswered, speeding up to an eventual fever pitch before dissolving into a metronomic rhythmic pattern. These rhythms connote glossy artifacts of our reliance on bitumen byproducts, all of which are distractions to the methods of the extractive industry that permanently alter the environment.

The 2024 work was installed in 510 Oak Street, Eugene, OR as part of a Center for Art Research exhibition series Embrace Fearlessly the Burning World, organized by curators-in-residence Ashley Stull Meyers and Aurora Tang and made possible by the University of Oregon Department of Art’s Center for Art Research and the Ford Family Foundation. Photos by Adam DeSorbo.

10" wood log horizontal in center with DC motor resting on top left of log. Motor moving tied to a string that is connected to a perimeter trip alarm resting on top right of log.

Side view of three 10" logs against gallery wall. DC motors sit on top left of logs with perimeter trip alarms on top right of logs. The view shows 1/3 of sound artwork, S.O.S.

Right side view of six 10" logs against gallery wall. DC motors sit on top left of logs with perimeter trip alarms on top right of logs. The view shows 2/3 of sound artwork, S.O.S.

distant view of two artworks on gallery wall with lighting center on each artwork. On left is a pair of headphones resting on wall that is connected to 50-caliber ammo box on floor. On right are 9 wooden logs, DC motors and trip alarms with long red and black electrical cables zip-tied together coming down to floor and into a box in middle of floor.

View of sound artwork on gallery wall. The wall is a 3x3 grid of 9 wooden logs, DC motors and trip alarms with long red and black electrical cables zip-tied together coming down to floor. Electrical cable moves left along floor into a white box.