ILLINOIS RIVER PROJECT
Catching invasive fish in Illinois River, Invasive fish decomposition, fishbone meal, soil testing, environmental remediation in South Bronx, 2006-2018
Artist photobook, 100 pages, 17 x 11 inches [43,1 x 29,7 cm], 2017
The Illinois River Project is an interdisciplinary project that aims to better the lives of individuals with a criminal record through confronting the ecology of the Illinois River, generating compost and clean up polluted soil. These seemingly disparate issues are actually intimately related and, I believe, are cyclically intertwined. It is my artistic advantage to work with and across different sectors and constituents that I believe will make a meaningful impact to each of these circuits.
Gyotaku (ink on Japanese rice paper), 33.5 x 18 inches [ 85 x 45.75 cm], series of 5, 2017
ACQUISITION PROTOTYPE PROTOTYPE #3.1 VÓ BÈ
Bamboo, fishing net, 28 x 6 x 18 feet [8,53 x 1,82 x 5,48 m], 2016
Traditional Việt fishing apparatus constructed and donated to a community pond in Củ Chi, Việt Nam
ACQUISITION PROTOTYPE #2.1 NEAR-SIGHTED PORCUPINE
Football pads with fishing spears, jetski helmet, 3D camera, 50 watt megaphone, media player with sine wave audio track, fishing net, 2016
Prototype #2, River Rat, is a wearable solution to invasive carp in the Illinois waterway. Part defense, part solution for reducing the overpopulation of invasive carp that jump from the water, River Rat is an inexpensive and practical suit.
Redneck Fishing Tournament
CONVERSION PROTOTYPE #1.2 ACQUATIC VERMICULTURE
Mosquito net, black soldier flies, plastic container, Speedrail, 35 gallon aquarium, convict cichlids, sump pump, PVC pipe, fluorescent daylight bulbs, fluorescent black light, light timer, heart-shaped philodendron, refrigerator, invasive carp, extension cords, 2016
A system that breaks down invasive carp bodies, feeds fish, cleans water with hydroponic plants
Black soldier fly larva and flies in resin, 11 dia x 0.5 inches [29,5 dia x 1 cm], 2017
Black soldier flies have gained status as a rapid waste processor, replacing other forms of composting and vermicultures at agriculture sites. The byproduct is applicable as soil amendment; the larva serve as chicken feed; as a source of protein, they are being tested for human consumption.
The black soldier flies are positioned in the alchemist symbol, the squaring of the circle, from larva to pupa to fly. The lifespan of a black soldier fly is about 6 weeks. The specimens used were non-vital.
ACQUISITION PROTOTYPE #1.2 REPRODUCIBLE VEHICLE AT ANY NEARBY HOME DEPOT STORE
Aluminum jon boat with additional fish-catching apparatus, wooden saw horses, 24 x 17 x 12 feet [7,3 x 5,2 x 3,6 m], 2015
Prototype #1 for catching sound-activated flying invasive Hypophthalmichthys molitrix.
The outboard motor scares the carp, causing them to leap from the water. Those which encounter the harp on the bow of the bow pound into the boat, turning the entire vessel into an acoustic device. The stake-studded protrusions present a wall of defense from the flying fish. This prototype is budgeted to be replicable for under $1,000 USD with components from the national chain Home Depot®. Lightweight and collapsible, prototype 1.2 is comprised primarily of aluminum.
Anyone can download the instructions to make this vehicle here.
DISTRIBUTION PROTOTYPE #1.1 PLAYGROUND 134
Fishbone meal intervention in polluted toxic soil in the South Bronx
Playground 134 is adjacent to a congested freeway and soil tests reveal almost four times the maximum level of lead that the EPA deems safe. Children play here, exposed to toxic soil, a modest improvement from the decades of exposure to leaded gasoline fumes. By integrating fishbone meal at this site, the lead molecules become no longer bio-available. However, much more fishbone is required to address the problem of urban soil exposed to decades of pollution.
Gold, cinnabar, mercury thermostat, fish roe, NYC rain water, human ashes, bricks from factories that smelt lead, plexiglass, 8 x 2.75 x 6 inches [20,32 x 5,08 x 15,24 cm], 2015
The included materials are sourced from the production, by-production, absorption and biomagnification of mercury’s through its cycle on planet earth.
Don Hải Phú Daedalus (b. 1983) grew up in the shadow of country's largest public observatory—an area so remote and sparsely populated that it served as the first plutonium-processing plant for the Manhattan Project. Shortly after the oldest human remains in North America were discovered near his hometown, Daedalus attended the University of Washington, where, coincidentally, the remains were to be held during the decade-long legal dispute between the native Kennewick tribe and anthropologists. In that time he completed studies in Continental and Applied Philosophy and interdisciplinary art degree. He was a Ferguson and Richardson Fellow.
In the post-911 climate that re-elected George W. Bush, Daedalus voluntarily expatriated to Spain, where the housing bubble ripened. Living in Barcelona, he studied Ildefons Cerdà's l'Eixample through painting, and drawing. Don returned to the U.S. to complete his graduate studies at the San Francisco Art Institute, where he focused on new media, film and performance.
In New York, Daedalus was commission by Franklin Furnace to create Doppelgänger Effect, (2010/2011) which merged his interest in sight, urbanism, and sound. In 2012 he staged Doppler Shift, commissioned by the Lower Manhattan Cultural Council as a the continuation of the inquiries of Doppelgänger Effect. Concomitantly, he participated in Sound Development City's first expeditionary residency in Berlin, London, and Zurich, in which he presented Bottle Vox. Returning to New York, he joined Critical Practices, Inc., founded by the first generation Conceptual artist and art critic, Saul Ostrow.
In the fall of 2012, Don founded Lugubrious New York, a digital artist book publishing platform later that year. The first publication was with British artist Steve Rosenthal.
In 2013 Daedalus held his first solo show in Latin America at LA Galeria in Bogotá, Colombia, entitled Imagined Bonds, Impossible Escape. He created glass sculptures for the exhibition, each capturing a stage in the evolution of the representation of black holes. The sculptures were made while in residence at Campos de Gutierrez, in MedellÍn, the former home to the notorious Pablo Escobar. While there, he was invited to document the world’s largest escalator, located in the impoverished Commune 11, which is the focus of his upcoming book on power and ambulation, and continuation of Waging on Aging Centurions.
A scholarship and residency at The Center for Book Arts brought Daedalus back to the U.S., where he presented bookEnd, a sculptural and digital meditation on the transference of information formats in the consumer economy. His 2014 work The Digization Of Information And Its Physical Components, led to a panel discussion on archival practices with D. Graham Burnett, Matt Wolf, Lyle Shaw, and Emilio Chapela.
The 2014 Whitney Biennial invited Critical Practices, Inc., to facilitate three round table discussions for the Whitney Biennial. Later that year Daedalus curated three discussions at First Street Green park, concerning public space. In 2016 he transitioned to archiving consultant for CPI.
In 2015, Daedalus presented Acquisition Prototype 1.2 at the Bronx Biennial held at the Bronx Museum of Arts. Acquisition Prototype 2.1 launched at the Redneck Fishing Tournament in Bath, IL, in 2016. Acquisition Prototype 3.1 is permanently installed at a community pond in Củ Chi, Việt Nam.
Additionally, Don has been a resident at the ISCP, Triangle Arts, Alfred University, and the Betsy Ross Hotel in Miami Beach. He has received support from New York Foundation for the Arts, the Puffin Foundation and a participant in the Buckminster Fuller Institute's Catalyst program. He's an environmentalist, composter and supports human rights through working with the Open Society Foundations, Fair Trials International and the Bronx Immigration Partnership.
To arrive to new ideas I invent new tools. A tool can be a workflow, physical instrument or a gamble; the tool may or may not become part of the project which is being assisted. Projects themselves may be tools for a subsequent project or previous endeavor. Art is not bound by taxonomy.
The motivation and inspiration for creative production most closely resembles suspicion. I'm suspicious of what I’ve read, seen or heard and think, "maybe if I visualize it, or visualize it differently, some confirmation or refutation can occur.” In essence, I’m thinking that seeing is believing, or believing is seeing (and that faith, the opposite of suspicion, has nothing to do with either believing nor seeing). At the same time you know it’s easiest to explain a plan by drawing a diagram in the dirt with a stick.
Work History (The First Decade)
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