A shark swims past me in a kelp forest that sways back and forth with the current. It is deliberate and focused. I watch the shark’s sleek body dart left and right as its caudal fin propels it forward. Its eyes seem to slice through the water in a blood gaze as the gills open and close, open and close. Around and around, I watch the shark maneuver through schools of fish. It must not be hungry. The only thing separating me from the shark is a tall glass pane at the Monterey Sea Aquarium. Everything is in motion. I press my hands on the glass waiting for the shark to pass by again and when it does, I feel my own heart beating against the mind of this creature that kills.
* * *
In the enormous blue room of the American Museum of Natural History, I stare at the tiger shark mounted on the wall of the second floor. Its surface shines with the light of taxidermy, creating the illusion of having just left the sea, now our own natural-history trophy. I see how out of proportion its mouth is to the rest of its body and wonder how many teeth hung from its gums during its lifetime, the rows of teeth, five to twenty of them, biting and tearing, thrashing and chomping on flesh, the teeth constantly being replaced by something akin to a conveyor-belt system. Somewhere in my mind I hold the fact that a shark may go through 20,000 teeth in a life span of ten years. I imagine the shark sensing the electrical field of a seal, swimming toward the diving black body now rising to the surface, delivering with great speed its deadly blow, the jaws that dislocate and protrude out of its mouth, the strong muscles that open, then close, the razor teeth that clamp down on the prey with such force that skin, cartilage and bone are reduced to one clean round bite, sustained over and over again. The blue water now bloody screams to the surface. Even in death, I see this shark in motion.
* * *
Sensation. I enter the Brooklyn Museum of Art to confront another tiger shark, this the most harrowing of all the requiem sharks I have encountered in a weeklong period. Requiem sharks. They say the name is derived from the observation that once these large sharks of the order Carcharhinid attack a victim, the only task remaining is to hold a requiem, a mass for the dead. Galeocerdo cuvieri. It is neither dead nor alive, but rather a body floating in space, a shark suspended in solution. Formaldehyde. To preserve. What do we choose to preserve? I note the worn, used sense of its mouth, shriveled and receding, looking more manly than fish. The side view creates a triptych of head, dorsal fin and tail, through the three panels of glass in the frame of white painted steel. I walk around the shark and feel the charge of the front view, a turquoise nightmare of terror that spills into daylight. Sensation. Damien Hirst is the creator of The Physical Impossibility of Death in the Mind of Someone Living (1991).
I do not think about the shark. I think about myself.
* * *
I like the idea of a thing to describe a feeling. A shark is frightening, bigger than you are, in an environment unknown to you. It looks alive when it’s dead and dead when it’s alive…. I like ideas of trying to understand the world by taking things out of the world…. You expect [the shark] to look back at you.
As a naturalist who has worked in a museum of natural history for more than fifteen years, how am I to think about a shark in the context of art, not science? How is my imagination so quickly rearranged to see the suspension of a shark, pickled in formaldehyde, as the stopped power of motion in the jaws of death, an image of my own mortality?