The Hydrocene is the watery, disruptive, conceptual epoch that I name for the tide of art going into the blue in response to the climate crisis. In this short watery provocation and essay, I share the potential significance of ‘misting’ as a hydro-artistic method of reorientation from within fog, where fog becomes a portal towards embodied encounters in art practices. I look to the extensive fog-based work of Japanese artist Fujiko Nakaya alongside Australian artists Emily Parsons-Lord's misty installation Things fall apart (2017) and Janet Laurence's hazy site-specific public work In the Shadow (2000) as examples of misting. I relate the artists' pieces to theorist Ifor Duncan's concept of ‘Occult Meteorology’ and Janine Randerson's notion of ‘Weather as Medium’, and further propose misting as a hydro-artistic method in the Hydrocene. The potential of artistic relationality between misty bodies of water in contemporary eco-critical art practices opens up possibilities of engaging indeterminate watery futures.

中文翻译：

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水新世中的迷雾水体与艺术关系

Hydrocene 是一个水汪汪的、颠覆性的概念时代，我将其命名为应对气候危机而进入蓝色的艺术浪潮。在这篇简短的水般的挑衅和文章中，我分享了“雾化”作为一种从雾中重新定位的水艺术方法的潜在意义，其中雾成为艺术实践中具体遭遇的门户。我将日本艺术家中谷不二子 (Fujiko Nakaya) 的大量以雾为主题的作品、澳大利亚艺术家艾米丽·帕森斯·洛德 (Emily Parsons-Lord) 的雾气装置《事物崩溃》 (Things Fall Apart, 2017) 和珍妮特·劳伦斯 (Janet Laurence) 的朦胧特定场地公共作品《阴影》( In the Shadow , 2000) 视为雾气的例子。我将艺术家的作品与理论家 Ifor Duncan 的“神秘气象学”概念和 Janine Randerson 的“天气作为媒介”概念联系起来，并进一步提出将雾化作为 Hydrocene 中的一种水文艺术方法。在当代生态批判艺术实践中，雾蒙蒙的水体之间的艺术联系的潜力开辟了参与不确定的水体未来的可能性。