When the sea and consumer culture intersect

When the sea and consumer culture intersect

This is a rewrite of an article originally published in Marine Café Blog in November 2018.

Even in inland cities, the sea is never really far away. It can pop up anywhere in the shape of merchandise whose logos or brand marks have a connection to the sea. Such reminders of the maritime world are usually ignored by people, but I take notice of them. They are a form of art, and they indicate the extent to which the sea has become part of the consumer culture and social history.

I try to stay away from coffeehouses. I think they are dreary places where people lounge about sipping coffee from paper cups. But how does one escape from Starbucks Coffee and the familiar logo of a two-tailed mermaid? They are everywhere. Despite this, I salute Starbucks for choosing the image of a mermaid for its logo. The name of the coffee chain itself has a nautical origin. It comes from Starbuck, the chief mate of the whaling ship Pequod in Herman Melville’s 1851 novel Moby-Dick; or, The Whale.

For generations, people have been spreading Anchor butter on their bread. According to the Anchor Dairy website, Henry Reynolds opened a butter factory in Waikato, New Zeland, in 1886. He came up with the brand mark after drawing inspiration from the tattoo on a sailor’s arm. The anchor logo is familiar as well to millions of children who grew up on Anchor milk.

© Callooh Callay — Photo used with the kind permission of Callooh Callay, sellers of “unexpected, eclectic and vintage” items

This photo of vintage Old Spice bottles brings back memories of my father, an officer and gentleman. The scent of the lotion would waft out of the bathroom after he had finished shaving in the morning. Additionally, I find Old Spice endearing because of the image of the sailing ship. Notes the former Old Spice website: “The original ships used on the packaging were the Grand Turk and the Friendship. Other ships used on Old Spice packaging include the Wesley, Salem, Birmingham and Hamilton.”

My Sperry Top-Sider eventually died due to old age and neglect. In the days I was wearing them, I felt like I was on a boat out at sea instead of inside a mall or on a sidewalk. Rugged and comfortable, this American brand of shoes has an interesting story. On the underside of the shoebox cover was printed, in English and French, the following historical note:

On a winter’s day in Connecticut, Paul Sperry watched his dog, Prince, run across the ice and snow. He noticed his dog’s amazing ability to maintain traction on slippery surfaces. Studying the design of Prince’s paw inspired Mr Sperry to create the patented “Razor Siping” pattern on the sole of the Sperry Top-Sider boat shoe, first introduced in 1935.

Photo credit: James Tamim
Licence: Creative Commons Attribution-Share Alike 4.0 International

Millions of sore throats have been relieved by Fisherman’s Friend, a popular brand of strong menthol and eucalytus lozenges whose packaging features a fishing trawler. The product dates back to 1865 and is still manufactured by the family-owned Lofthouse company in England. The company’s website recounts how Fisherman’s Friend started:

It all began with three scratchy throats…

James Lofthouse, a pharmacist from the small port town of Fleetwood in northwest England, was talking to three deep-sea fishermen one evening in November and they told him about their catch of the day. Or rather they tried to, because all three could hardly say a word. Instead of amusing tales from the high Seas, all he heard was a croak. This gave him an idea …

Photo credit: Brian Adler

You cannot drink salt water. But you are welcome to drink Cutty Sark, a blended Scotch whisky inspired by the famous clipper ship bearing the same name. The interesting history of Cutty Sark Scots Whisky, including the secret behind the use of yellow, can be found here. Teetotallers may be tempted to purchase a bottle solely for the artwork.

~ Barista Uno

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Interior sea: The photographic art of Judith in den Bosch

Interior sea: The photographic art of Judith in den Bosch

The sea has been Judith in den Bosch’s muse since she was a little child. ”When I am there, I start making poems,” says the photographic artist from Alkmaar, The Netherlands. “I love the power…the feeling of being small, a part of the whole.” Her work entitled “beyond feeling” sums up, more potently than words, her long-time fascination with the sea.

beyond feeling   © Judith in den Bosch

Judith started taking pictures with a “very old” mobile phone about six years ago. Her mobile remains her artistic tool. But unlike most smartphone users, she is not interested in simply capturing the moment. In lieu of sharpness, which the great French photographer Henri Cartier-Bresson called “a bourgeois concept”, she recreates reality to offer her own subjective view, transporting us to the inner world of imagination, dreams and feelings.

“I use editing because I find out that the photo is how I look at things, and the editing is what i feel,” Judith says. “I don’t look with my eyes but with my belly.” The entire editing process is done with an app on her mobile phone. The result can be startling. In one composition (“sound in silence“), Judith deconstructs reality to convey the sound of the sea, reducing the water to an eerie image akin to a sound spectrum.

sound in silence   © Judith in den Bosch

All great works of art and literature boil down to sublimated angst. Judith has had her fair share of it. In 2015 she was diagnosed with cancer and began chemotherapy. Now free of the disease, the memories of her struggle are writ in “with the waves” — a poetic statement of acceptance, of living in the moment, and of the human spirit seeking the light. This theme is reprised in another piece entitled “breaking the waves”. Here, a nude female figure lies on the beach to create a sense of surrender as well as defiance.

with the waves   © Judith in den Bosch

breaking the waves   © Judith in den Bosch

Many of Judith’s works are sombre and they often portray solitude. Yet, it is in this condition of being isolated from the madding crowd that the artist finds solace and strength. The point is driven home in “sense of security” — a gripping image of a woman lying on the strand in fetal position. On another level, the picture symbolises humanity itself: we remain ineluctably connected to the sea and Mother Nature; the umbilical cord has never been cut.

sense of security   © Judith in den Bosch

Land and sea are one, and humans are part of it all. Judith concretises this idea in “water and earth” by fusing a picture of some ornamental carp with a landscape suggestive of the richness of the earth, vegetation and rain. In a world filled with the ugly, the artist seems to suggest, beauty can be a source of salvation.

water and earth   © Judith in den Bosch

Digital manipulation of photographs is a contentious issue. Some would have none of it. Others consider it desirable and a normal part of photography. Whatever one’s opinion, there is no denying that such artistic intervention is justified in Judith’s case. No gimmickry on her part nor a conscious attempt to impress. Judith has no need for either. Her creations have emotional and intellectual depth, and they reveal a sensitive soul.

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