A living artwork uniting art, coral, and the spirit of the Mother Ocean.
Known for transforming seabeds and shorelines around the world into underwater museums, Jason deCaires Taylor returns to Asia with a project that braids art, ecology, and spirituality. Ocean Gaia, inaugurated in October 2025, is Japan’s first-ever underwater sculpture: a monument to the sea as the origin of life, a space of memory, and a site of collective consciousness.
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| Jason deCaires Taylor - Ocean Gaia (Credit www.underwatersculpture.com) |
Site & Symbolism
Beneath the clear waters of Tokunoshima in southern Japan, a serene figure appears: Kiko Mizuhara, Japanese actor and model. Her face, more than five metres wide and sculpted from forty-four tons of eco-compatible material, rests at a depth of around five metres, encircled by reef. Its surface is perforated with apertures that welcome fish, corals, and microorganisms, transforming the sculpture into a living organism, where art does not impose itself but offers itself to the sea, a porous body awaiting habitation.
The sculpture’s sinuous forms echo the sand circles crafted by the white-spotted pufferfish (Torquigener albomaculosus), endemic to these waters, and the undulations of the mountain chain that crosses the island, whose natural silhouette recalls the profile of a pregnant woman. Tokunoshima, renowned for the longevity of its inhabitants and for its equilibrium between human life and the natural world, thus becomes the ideal setting for a work that speaks of birth, care, and continuity.
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| Jason deCaires Taylor – Ocean Gaia: Immersion in the Japanese Sea (Credit www.underwatersculpture.com) |
Material, Ecology, and Time
The work sits within a practice Taylor has pursued for more than two decades: sculptures designed to become ecosystems. From the installations in Grenada, the world’s first underwater museum, to those in the Maldives, Lanzarote, and Cancún, his artistic language is grounded in the interaction between matter and environment. These works do not seek eternity; they welcome change. They allow themselves to be colonised, eroded, and overgrown. With its slow, implacable rhythm, the sea becomes the true sculptor.
In an era marked by climate crisis and the exhaustion of resources, Ocean Gaia proposes the inverse gesture: not to subtract, but to give back. Taylor does not erect monuments to power, but to metamorphosis. In opposition to the rhetoric of the eternal, he celebrates vulnerability as knowledge. Each of his works is a living capsule that evolves over time, a laboratory of interdependence where art and biology blur. Coral growth, salt patina, and water’s refracted light become integral to the composition, generating a new aesthetic, fragile and mobile, that accepts dissolution as a creative act.
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| (Credit www.underwatersculpture.com) |
Cultural Resonance in Japan
In a Japan where younger generations leave the islands for larger cities, Ocean Gaia becomes an act of reconnection. It is not a monument to contemplate but an invitation to rediscover belonging in the sea. Gaia, Mother Earth, becomes the Mother Ocean: a force that welcomes, generates, and heals. Taylor shapes a universal figure of fertility and compassion, an aquatic madonna senza religione, evoking the intimacy and mystery of origins.
Within the Japanese cultural context, where nature is perceived as spiritual and animated, the work acquires a particular resonance. The ocean here becomes both sacred and communal space, a place for healing and reflection. Taylor embraces this vision and translates it into a universal language that unites aesthetics and biology, ritual and science, inviting a new form of planetary empathy.
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| (Credit www.underwatersculpture.com) |
A Practice of Living Museums
To immerse oneself before Kiko Mizuhara’s face is not merely to observe a sculpture; it is to suspend time. Water filters the light, erases distance, and dissolves borders. Every detail moves, regenerates, and softens. The experience returns us to the primordial moment of birth, when everything is still fluid, undefined, possible. Visitors speak of a deep calm—as if the sea itself were breathing through the stone. Ocean Gaia does not speak; it listens. And in that silence, something archaic rises to the surface.
The installation at Tokunoshima also participates in a broader reflection on public art in the twenty-first century. At a time when many works are conceived for closed or tightly controlled spaces, Taylor reverses the perspective: he brings art where the human gaze rarely reaches, into a mutable, ungovernable environment. His gesture resists monumentality as domination and proposes instead a monumentality of breath, where greatness lies not in scale but in relationship. The work does not impose a message; it lets one emerge slowly, in step with nature’s rhythms. It is an art that disappears in order to survive, renouncing authorship to exist together with the world.
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| (Credit www.underwatersculpture.com) |
Public Art for the 21st Century
Looking at the images of Ocean Gaia, it is impossible not to think of the widening distance between humanity and water. Our age fears what it cannot possess, yet the sea continues to remind us that life does not belong to domination but to relationship. Water becomes a metaphor for awakening, not only environmental, but deeply human. Perhaps this is the work’s truest message: survival does not lie in the hands of those who conquer, but of those who allow themselves to be transformed.
Visiting Notes, Credits & Related
Location: Off the coast of Tokunoshima, Japan. Depth: ~5 m (conditions may vary). Best visibility: Calm seas, midday light. Always check local guidance and dive with certified operators.
Artist: Jason deCaires Taylor — Ocean Gaia (2025). Muse: Kiko Mizuhara. Medium: Marine-grade, eco-compatible composite; site-specific underwater installation.
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