Mad Max meets Waterworld in a crossover sequel conceived by a film studio’s marketing department. Hooper Schneider’s dioramas are scenes of bleak undersea struggle. What is left of human civilisation – an old master painting and a bad ‘80s sitcom – persists only at the mercy of nature that’s out of control. Sea creatures have evolved into hybrids which the artist bestows with intelligence and purpose. The ocean floor looks like the Garden of Eden, but this environment is hostile, and all humans are banished. The capsules that once saved life have turned into museums.
The end is nigh, it always is. But Hooper Schneider makes it difficult to take this story seriously, despite his scientific and research credentials. The spectre of SpongeBob SquarePants hangs over this apocalypse. If this is intentional, it isn’t funny. If not, as with much eco-art today, tiresome.
