Unseen, Seen: My Eco-art Travels the World

Experimental artist Veronica Worrall offers a story of shared hope in students’ reactions to her photographic series ‘Unseen’, and how young people’s actions and art in the USA, China and around the world provide examples ahead of COP26.


2,150 words: estimated reading time = 8.5 minutes


“Advocacy by young climate activists such as Greta Thunberg and Isra Hirsi show that youth are anxious about their collective futures. … Youth might be more likely than adults to experience ill-effects associated with climate anxiety. … Young people are agents of change, our future leaders, and most likely to succeed in improving planetary health.”
Climate anxiety in young people: a call to action – Judy Wu, Gaelen Snell, Hasina Samji (published online in The Lancet, September 2020).

Climate crisis, biodiversity loss, environmental degradation, threatened ecologies, mass extinction, and tipping points — attention-grabbing, anxiety-raising phrases employed in ever-increasing numbers by news reporters, environmental activists and corporate marketeers. Climate change awareness levels rise as we approach 2021’s United Nations Climate Change Conference (COP26). As a prelude to the discussions more and more scientists — as in the latest report from the Intergovernmental Panel on Climate Change (AR6, 2021) — confirm the urgency for humanity to reduce its impact on our planetary systems. Global unsustainable drilling and destruction and 21st-century consumption and convenience all need urgent re-evaluation.

I shall follow the COP26 discussions and sincerely hope that wisdom and leadership are shown by those holding the power to recalibrate how we do business. Will they have the courage to make the right decisions? Decisions that may be unpopular; u-turn decisions that may be humiliating and power threatening. This is the time for world leaders to demonstrate they have understood the science and recognise their responsibilities to alleviate global environmental disasters and offer a future to our next geneation.

Nevertheless, we at home have our part to play. As artists, many of us harness our creativity to express our concerns and share our work with a hope to raise awareness and stimulate conversation.

Veronica Worrall - 'Unseen' series of photographs

Veronica Worrall - text for EnviroArt Gallery
A selection of images and the front piece from ‘The EnviroArt Gallery’, a virtual exhibition curated by Undergraduate Environmental Alliance – Duke University, USA (2021). https://www.enviroartgallery2021.com

My recent photographic series ‘Unseen’ focussed on the undervalued habitats and overlooked ecologies locally under threat in Suffolk. An edit of my images was featured in The Enviroart Gallery, the Undergraduate Environmental Alliance virtual gallery from Duke University, USA, in April 2021. The gallery takes visitors on a journey through a series of 600+ artworks created by practitioners, students, and children, sharing artistic inspiration and nature sentiments from across China, Australia, the UK, South Africa, Latin America, Canada and the USA.

Eco-art photography: ‘Unvalued No 1’

I was pleased to be one of the environmental artists selected. Each contributing artist had the opportunity to write an insight into their interpretations, to sit alongside their work. Beside my image ‘Unvalued No 1’ I cite Rachel Carson’s 1962 book Silent Spring, acknowledging her foresight and reflecting on our subsequent lack of understanding of where our western lifestyle was leading.

Unseen series - showing 'Unvalued No 1' by Veronica Worrall
‘Unvalued No 1’., featured in ‘The EnviroArt Gallery’ (2021)
Artist: V.M. Worrall © 2021
Series: 'Elemental Expressionism' 
by Veronica M Worrall, Art Photographer

'We stand now where two roads diverge...The road we have long been travelling is deceptively easy, a smooth superhighway on which we progress with great speed, but at its end lies disaster.' (Rachel Carson, Silent Spring, 1962)

For a year I journeyed over my own home landscape in Suffolk. I found threatened wild places, vestiges of salt marsh and pockets of woodland being squeezed out by human activity. As an artist I wanted to renew connection to these fragile places. I pondered how to portray their unseen, undervalued essential ecosystems.

I spent time reflecting on our living world. I became immersed in the natural flux and slower rhythms of a coastal biosphere. I buried my photographs back where they had been taken as an antidote to the acceleration of human power over nature. I learnt to slow my image making from 1/80th second to 80 days. Time, water, weather and creatures painted over my digital images leaving traces of elemental activity. The altered images were my dialogue with nature -- no longer representing a particular moment more an evolving enquiry. What is our relationship with ecosystems? How do we replace our anthropocentric ways of thinking, of valuing and of acting? Nature was my new partner in art. The photographs represented an aesthetic partnership of expressionism. 

This series, emulating a famous expressionistic painter of the past, is simply one art photographer's reaction to overwhelming environmental reports of the global degradation and the socio-cultural challenges we now face as humans. I reflected on the losses within my lifetime and contemplated how much we are taking from the next generation? Will these children thank us for beautiful pictures of lost wilderness and creatures, which we could have saved?

However, it is not only as artists that we can respond to our global environmental crisis. Along with everyone on the planet, there are mitigating steps we can take. Together we can help the planet retreat from the brink.

I believe there are two significant ways. First, we can take time to understand the global implications of the crisis and support the leaders who take the necessary tough decisions. Secondly, we can realign our own lifestyles to be less environmentally costly. This may well mean life becomes a little less convenient and less comfortable but together our actions will accumulate and become significant. Our collective action can not only lead to a decrease in CO2 emissions but will influence corporate policy and government decision-making. For instance, we can learn about the true cost of flying and eliminate unnecessary trips. We can move to non-plastic containers, tools and toys and to non-synthetic textiles. We can consider food miles and adapt to local seasonal foods. We can check whether our banks and search engines support a sustainable Earth and ensure our investments are moved out of damaging mining, petrochemicals and harmful pharmaceutical stocks into companies supporting green initiatives. We can encourage species-rich natural areas — gardens, window boxes and community parks.

These are a few of the ways. I personally know how difficult the changes can be. In our busy lives, these changes require time, effort and are often less convenient. In conversations I find I need to stay positive when the poor environmental records of large countries such as the USA and China are quoted back to me. Our global environmental problem can seem so huge and my colleagues’ counterarguments can suggest that it is not worth the effort for an individual to change their lifestyle. Hence, I share this one small story linking the young people of these two huge continents. I demonstrate how across the globe concerned undergraduates are determined to make a difference.

Unseen — from USA to China

When my ‘Unseen’ environmental photographic series was selected by students in the USA for their virtual exhibition, these pictures came to the attention of another group of students, this time in China. And out of the blue, I had an exceedingly polite email from a Chinese undergraduate asking my permission to show one or two of my art pieces in an exhibition his team were curating in Shanghai. The exhibition was to be called ‘Breathing’.

Unfortunately, a second wave of Covid meant the exhibition could not go ahead but they persevered and later I learned they were to have an outdoor show in Mixc City, Muse Mart, at an art festival. I sent a digital file and we discussed the best ways to print. They kept me informed throughout and eventually sent me photographs and a video of their stall, including my image, at the Shanghai Art Festival — a stall communicating their concern for the planet.

Showing Veronica Worrall's Unseen images as part of the 'Breathing' outdoor festival, Shanghai 2021
‘Breathing’ Outdoor Art Festival, Mixc City, Muse Mart, Shanghai (2021)

These environmentally aware Chinese students call themselves the ‘Beauty and Beast’ Team. They are dedicated to challenging environmental understanding and policies both locally and across the world. I am so proud they asked for my work to be displayed in China, the country which is frequently given as a reason that it is not worth making changes to our Western lifestyles. These youngsters tell us we are part of a global movement that recognises the importance of individual action. They believe we can join forces across the globe. Below I share an extract from their email thanking me for participating. These beautiful words demonstrate their deep reflection and determination to make a difference.

Dear Artist

With what gesture do we touch the muscle of the world? The hunter cuts the flesh with a sharp blade, the fisherman stops the struggle with his nets, the steel that comes from the soil is tearing it apart and the earth gushes black blood. Is it that the breath of man is a curse imposed on the land? Or is it time for us to take a few steps back and release the repressed and suffocated creatures into the wild?

In this special exhibition, artists from around the world focus on themes such as over-hunting, over-deforestation, resource depletion, excessive carbon emissions and ocean pollution through painting, poetry, and photography, demonstrating a cross-over awareness and care, and through this special exhibition, the B&B curatorial team hopes to evoke the world's thoughts on the environment and development, and how we should live with everything.

Beauty And Beast (Student Team) 24.9.21 
Duke Kunshan University, Kunshan, Suzhou, Jiangsu, China | 昆山杜克大学

Altered images — an art photographic philosophy

“Over the past 50 years, humans have changed ecosystems more rapidly and extensively than in any comparable period of time in human history, largely to meet rapidly growing demands for food, fresh water, timber, fiber and fuel. This has resulted in a substantial and largely irreversible loss in the diversity of life on Earth.”
— Millennium Ecosystem Assessment (2005)

A few years ago I reflected upon my own environmental footprint both generally and specifically for my art. Photography can take a heavy environmental toll — flying to exotic places, continually updating equipment, and production costs. As a consequence, my art practice became local and my creativity focussed on threatened ecologies.

I learned about my local diminishing wild landscape and the threats to natural habitat by human activity. I took pictures of this terrain and its beautiful biodiversity but this was not the creative exploration nor the expression of my concerns which I was seeking. However, I did become immersed in nature’s wonder and felt its deep concern.

I contemplated the philosophy of ‘Deep Ecology’ — the interrelationships of life and time. I decided to give my prints back to the natural world in order to trace its struggling systems. I buried my photographs for 80 days back where they had been taken. I waited patiently.

Unseen - showing the process of burying photographic prints to reveal slow changes.
V M Worrall – retrieving prints after 80 days from salt marsh, Suffolk.
Artist: Veronica Worrall © 2019

Together, nature and I were demonstrating an ecological philosophy of partnering and we produced my original series ‘Project Unseen’. The resultant images were my dialogue with nature. They have since been printed on sustainable fabric and filmed as ‘banners for nature’ back in their original location. My photography no longer represents a particular moment but, I hope, asks questions.

And so, I write this reflecting how I had originally worked in partnership with natural processes in coastal Suffolk in the UK to produce my eco-art photographs — and now I find I am partnering across nations, helping to build awareness and instill an appetite for change. I believe as artists we can share our visions. We can contribute to the pressure for environmentally friendly decisions from our world leaders. I am encouraged by young artists across the globe, who care and are willing to work across cultures, and I find there is hope for our planet’s future.


Find out more

You can explore Veronica’s ‘Unseen’ series, and more, at her website — including a one-minute film of the images in experimentation, transformation and presentation. And you can read more about her approach to partnering with nature in her art in her previous ClimateCultures post, Art Photography — Emotional Response to Global Crisis.

The EnviroArt Gallery exhibition from the Undergraduate Environmental Alliance at Duke University, USA features over 600 images. Veronica’s featured ‘Unseen’ images are: Unvalued No 1, Unvalued No 2, Unvalued No 3, Unvalued No 4, and Unvalued No 5. The Beauty and The Beast team’s Breathing popup exhibition was held at Muse Mart in MixC, Shanghai in September 2021.

Climate anxiety in young people: a call to action, by Judy Wu, Gaelen Snell, and Hasina Samji, was published online in The Lancet on 9th September 2020.

The IPCC published The Physical Science Basis for the AR6 Climate Change Report in August 2021.

Rachel Carson’s Silent Spring, first published in 1962, is published by Penguin.

The Millennium Ecosystem Assessment reported in March 2005: “The bottom line of the MA findings is that human actions are depleting Earth’s natural capital, putting such strain on the environment that the ability of the planet’s ecosystems to sustain future generations can no longer be taken for granted. At the same time, the assessment shows that with appropriate actions it is possible to reverse the degradation of many ecosystem services over the next 50 years, but the changes in policy and practice required are substantial and not currently underway.”

Veronica Worrall
Veronica Worrall
An experimental artist using photography to capture movement, time and natural processes, working with nature and traditional alternative photography in attempts to reduce her artist footprint ...
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The Art of Reimagining Managed Retreat

Artist Yky shares ideas and artworks he presented to an international conference addressing scientific, social, and governance issues around ‘managed retreat’ — and how artists need to engage with pedagogy to contextualize and reimagine responses to climate change.


2,440 words: estimated reading time = 10 minutes


In June 2021, Columbia University’s Earth Institute in New York City organised a four-day conference addressing scientific, social, and governance issues around the theme of ‘managed retreat’. This conference covered a broad spectrum of topics, but all of them were meant to discuss resilience, relocation, and climate justice when facing the consequences of flooding. I was invited to discuss how art could address the challenges of climate-caused relocation.

At what point managed retreat? Columbia Climate School conference 2021

It was no surprise to me that, amongst key issues, it was recognised that most practitioners facing climate change and resilience challenges had no adequate professional preparation in terms of communication. Scientists are often blamed for not being able to see the value of unconventional narratives. But artists also have their share of responsibility. During this conference, it appeared that the meaning we give to the words ‘managed retreat’ and how to bring pedagogy into the process were two essential issues. To give more insights on the way art should address the question of communication improvement, I presented five of my works that question how vulnerabilities may turn natural hazards in disasters.

‘Managed retreat’ — advancing in a different direction?

Art provides powerful narratives, enabling us to bridge the gap between scientists and non-expert citizens. It gives a better understanding of the world. Its vision of reality enriches the collective debate, enabling a significant change by shifting the perspective to more open-minded views. It gives the opportunity to understand reality differently, either using our sense of understanding or our sense of emotions, or both. Facing disasters, be it due to climate change or others hazards, artists will use their skills to convey the message they find appropriate. Most often, the vulnerabilities that shape such disasters translate into a scope of artistic representations which are direct, realistic, emotional, strong, and visually meaningful.

But, seen from the artistic point of view, translating into a piece of art the meaning of ‘managed retreat’, though terribly actual, is much more challenging. During my presentation, one of the questions sent through the Q & A session asked “is the word ‘retreat’ appropriate to discuss the topics of the conference?” I think this was one of the most interesting questions, as indeed, the word ‘retreat’ can have a negative perception. It is linked to this idea that you have been defeated and that there is no other alternative than withdrawing and leaving the field to the ‘enemy’. Flooding-caused displacement cannot ignore our attachments to a community or a place. It needs to address social and environmental justice issues as integral parts of the retreat management. But at the same time, it is ambiguous. What do fairness or justice mean when dealing with the unavoidable tradeoffs linked to forced evictions, when prioritising access to retreat resources, when ignoring the fact that indigenous communities have tribal rights that are too often ignored by our post-colonialist behaviours?

But what about understanding retreat as ‘advancing in a different direction’? Could we think of retreat as being a way to reimagine, reinvent, redefine processes to give the environment its full place, promoting visions radically different from massive human movements? Undoubtedly, the creativity and imagination required to propose new scenarios, even ones seen as utopian, are the privilege of artists. But how can we describe the complexity of urban space from the artistic perspective? How could artists translate into their works the unpredictability of our future as described by Carl Folke of the Stockholm Resilience Centre?

There is a need for all artists to better understand some concepts. ‘Resilience’, ‘sustainability’ and ‘risk management’ are not interchangeable words. When sustainability calls for more efficiency, resilience is more focused on redundancy. Both need to be linked, and the conditions providing a synergistic effect between the two concepts are key when looking for the path to reimagine ‘managed retreat’. Artists don’t need to be experts, but they need to know how to address through their skills the issues related to climate disasters. Empathy is not enough; there is a need to better engage with scientists, to better contextualize the concepts so that such concepts, through an artistic expression, help non-expert citizens to understand how and why retreating from flooding-prone areas and moving to safer ground can also meet their needs.

Bringing pedagogy into the process

The scientific community may understand complex concepts but without appropriate storytelling it will fail to engage people, for a simple reason: facts are not enough. We also need the right narrative and, in this respect, art can help.

There are many examples of associations, like Art of Change in France, Artseverywhere in Canada, or Julie’s Bicycle in the UK, with talented artists who are committed towards climate change. And some of them bring artists and experts together to imagine and propose answers and ideas for adaptation and transformation. But few are engaged together in a pedagogical process. However, artists need to recognise their social responsibility and be involved in an artistic approach consistent with the objectives we are trying to reach. Some of them may find it difficult to leave their comfort zone: going beyond a natural sensitivity finding its expression in a painting, in a sculpture or in a poem is not easy, and sometimes not feasible. But artists can also engage in improving our well-being and well-living, using their skills to increase our collective awareness, through a designed pedagogical approach together with scientists in a co-working exercise.

Ultimately, the threats and challenges we all face are so high that being committed towards non-expert citizens becomes a duty. A pedagogical approach is not needed simply to make non-expert citizens aware of the challenges they face; but it is definitely a requirement if artists want to play a role in explaining the systemic nature of socio-ecological threats shaping our vulnerabilities.

Pedagogy cannot be decreed; it needs to be learned. And in the specific case of hazards and related disasters, teaching is cognitively challenging. When both experts and artists decide to join their skills, Paulo Freire can be very helpful. Freire was a Brazilian educator and sociologist who dedicated most of his work to vulnerable communities. His work — most of it can be found online — was about how knowledge should be transferred from teacher to learner, and the core was based on the idea that unequal social relations build the path to a “culture of silence” which is created to oppress. To this extent, it leads to questioning the systemic nature of inequalities in our society, shaping the vulnerabilities that lead to disasters. ‘Teachers’ following Freire’s principles, will need to develop the critical consciousness of ‘learners’, aiming to build a “cultural action for freedom”.

Managed retreat: the art of critical thinking

Redefining ‘managed retreat’ in such a way that the focus moves from disruption in human occupancy to promoting new visions incorporating issues of gender, race and equity questions the nature of artistic approaches. How can they be consistent with the duty to (re)educate communities about conceptual processes which themselves had their share of responsibility in creating inequalities? In line with Freire’s approach to giving more importance to questions than to answers, artworks should prioritise such issues. By doing so, art will engage in this ‘critical thinking’, seen as the cornerstone that enables us to reconsider what has been taken for granted when this is needed.

In the five works I showed during the conference, and seen below, the property of argentic paper to darken when exposed to light should be seen as an allegory of ephemerality, questioning the value of what lasts in time. Each is a diptych of two photographs illustrating a given urban space impacted by a natural hazard. While the first one is stable in time, the second image darkens — with some parts disappearing as the argentic emulsion turns black. It is the comparison between the two photographs that will lead the viewer to question the resilience level of the urban space. Being ephemeral, this work can be seen as having no value, unless its value lies in the questions it raises.

“Only the ephemeral is of lasting value.”
Eugène Ionesco (playwright, 1909-1994)

Shakes 

‘Shakes’ questions how resilience can be implemented in the case of widespread destruction by earthquakes, which are devastating at different levels. They impact the cities, the organisations and the persons. But they also talk about an irrational fear, which is the destruction of our matrix. In this diptych, the second picture darkens in time in such a way that only the broken glass path remains, referring to our fears and vulnerability, while two attributes of our cultural heritage — a Le Corbusier building and the Golden Gate Bridge — are endangered even when not destroyed

Yrban resilience: Showing Shakes, a diptych by artist Yky
Shakes, a diptych: D0 and D+
Artist: Yky © 2018

The Japanese paradox

The Japanese paradox’ is all about the difference between risk management and urban resilience. It is well-known that the Japanese culture of risk management is almost second nature. But do we really speak of urban resilience, the way we understand it, when philosophical and/or religious principles refrain from addressing the norms that sometimes need to be reconsidered? In that work, darkness in time is detrimental to the city and its inhabitants, confronting the great wave of Hokusaï, symbolising the almighty nature that no one can stop.

Managed retreat: showing 'A Japanese paradox at D0 and D+', a diptych by artist Yky
‘A Japanese paradox at D0 and D+’, a diptych
Artist: Yky © 2018

La Seine

La Seine’ was taken during the substantial flood in Paris three years ago. And this work is about the adaptation of historical cities’ urban environment. How far are we ready to go in losing our cultural heritage, and what does this mean in terms of resilience?

Managed retreat: Showing 'La Seine, a diptych at D0 and D+' by Yky
‘La Seine, a diptych at D0 and D+’
Artist Yky © 2018

NB: ‘Shakes’, ‘The Japanese paradox’, and ‘La Seine’ were showcased just before the pandemic during the Art of Resilience exhibition organised by the World Bank in Washington DC.

Do cities learn from getting burned?

This work was inspired by the Australian tragedy that we all remember but is also related to the ongoing and never-stopping fires in California. And it speaks of the moment where cities will be impacted, and not only the wild-urban interface. It also questions our inability or difficulty to learn from aboriginal traditions in terms of fire risk management.

Do cities learn from getting burned, a diptych at D0 and D+' by artist Yky
‘Do cities learn from getting burned, a diptych at D0 and D+’
Artist: Yky © 2019

Is NYC retreat inevitable?

This work refers to the different issues discussed during the conference. It was inspired by an article published last year in the online journal NewCities in which the CEO of the Star City group explained why he decided to leave the Hudson River area where he was living and why he did not believe any longer in urban resilience. This work concluded my presentation, not only because it refers directly to the conference topic, but also because not being able to explain to non-expert citizens the meaning of urban resilience should be seen as a collective failure.

'Managed retreat: Showing 'Is NYC retreat inevitable? a diptych at D0 and D+' by artist Yky
‘Is NYC retreat inevitable? a diptych at D0 and D+’
Artist: Yky © 2020

Find out more

You can explore the programme for the At What Point Managed Retreat? conference and watch videos of all the sessions. Yky explores many aspects of urban resilience in a changing climate in his Resi-city blog about his work picturing urban resilience seen from the citizen point of view: for example, Exploring spirituality in the urban frame. Some of the artworks featured in this post — including Shakes — were exhibited at Art of Resilience, organised by the World Bank in Washington, DC. In Urban Resilience? Art, the Missing Link, his earlier post for ClimateCultures, Yky offers further thoughts on art as a pedagogic tool and imagines a conversation between citizens, a scientist and the artist himself as they consider Shakes.

You can read about the language we associate with coastal change and particular responses such as managed retreat in You can’t resist the sea: Evolving attitudes and responses to coastal erosion at Slapton, South Devon, a 2009 paper by geographer Stephen Trudgill.

Yky mentions the work of Carl Folke and the Stockholm Resilience Centre. You can download and read Resilience: Now more than ever, an article co-authored by Folke for Ambio: A journal of the Human Environment in 2002 and shared as part of the journal’s 50 years celebration in 2021: “As proffered in the Ambio article, resilience is about learning from and developing with change, rather than managing against change. Resilience is about having the capacities to live with complexity, uncertainty, and change, abrupt or incremental, and continue to develop with ever changing environments. This includes both adaptation and transformation.”

Among the organisations bringing together artists’ responses to environmental and climate change, Yky mentions: Art of Change in France, which was created in Paris in 2014 ahead of COP21 and “highlights the role of artists and creativity as accelerators of the ecological transition and acts on an international scale”; Artseverywhere in Canada, “a platform for artistic experimentation and exploration of the fault lines of modern society”; and Julie’s Bicycle in the UK, “mobilising the arts and culture to take action on the climate and ecological crisis.”

The work of Brazilian educator and sociologist Paulo Freire is celebrated by the Freire Institute, an organisation for transformative community-based learning, and many other organisations around the world (which you can find listed at the Freire Institute). “Freire developed an approach to education that links the identification of issues to positive action for change and development. While Freire’s original work was in adult literacy, his approach leads us to think about how we can ‘read’ the society around us. For Freire, the educational process is never neutral. People can be passive recipients of knowledge — whatever the content — or they can engage in a ‘problem-posing’ approach in which they become active participants. As part of this approach, it is essential that people link knowledge to action so that they actively work to change their societies at a local level and beyond.” Freire wrote The Pedagogy of the Oppressed in 1968, translated into English in 1970.

Yky mentions Anthony Townsend, the CEO of the Star City group, who decided to leave the Hudson River area over climate resilience concerns when the river flooded Hoboken, New Jersey: Our Inevitable Retreat is the article Townsend wrote for NewCities. “The plan I came up with was simple — move inland and uphill. To my disbelief, the housing market hadn’t skipped a beat. Once I finally pulled the trigger, my condo sold in less than a week, at a profit.” 

Yky
Yky
A citizen artist exploring urban resilience whose photographic works use argentic paper's response to light to highlight the challenges raised by climate hazards in urban spaces.
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Attending to Muse & Nature in Lockdown

Artist Hanien Conradie shares the impulse and process behind a Covid19-lockdown collaboration that brings together image and text; and how, in a period of human silence, her muse and the natural world seemed to work in similar ways.


2,170 words: estimated reading time = 8.5 minutes + gallery


What does it take for distracted creatives to surrender to the cries of their muse’s desires? For some it is simple, they hear, they listen and they translate through making. But some of us academically trained artists scold the muse for her infantile ideas, her need to play and her seemingly inconsistent barrage of desires. And then there are some of us who ignore her voice year after year…

In my practice I work in locally found natural pigments and burnt plant material as part of an expression of climate change and my concern with loss as we head toward a Sixth Mass Extinction. The global ecological anguish and my personal heartache inform the colour palette of my work: earthy ochres and monochromatic black paintings. Black, as a colour of grieving in the West, is also a colour that represents infinite creative potential and has become more and more prominent in my films, my ritual work and my paintings.

Human silence & other voices

As the severe restrictions of the Covid19 lockdown isolated South Africans in their homes, I considered what artworks I could make from a small desk in my bedroom. For quite a few years I have been an active environmental voice, calling for a change in the way we relate to the natural world. Suddenly, because of the virus, the Earth gained respite from our feverish pursuit of money; our disregard for the effect we have on the rest of the natural world. At the same time, everyone became quiet and introspective and the sounds of the natural world became more apparent than before; and people noticed. It seemed to me that the Covid19 lockdown provided the perfect opportunity for humanity to reconsider the way we live. For the moment it felt like my quest for change was interceded by an outer manifestation that was so severe that it forced us to adjust our habits naturally.

Seeking the muse: Showing image 25 from Hanien Conradie's 40 DAYS series
40 DAYS – image 15
Artist: Hanien Conradie © 2020

Within the human silence of the lockdown, the voice of my muse became more insistent than before. I realized that the workings of my muse and the natural world were similar somehow and that less noise and distraction increased the intensity of my creative compulsions. The very uncertain and unprecedented circumstances swept away my normal, considered academic approach to my practice. I felt like breaking free from all my self-imposed limitations, obligations and preconceptions about what my art should be. I imagined that this is how artists might feel during times of war: the focus shifts from making work for others to making work because this is what I do to keep myself sane. I thus found myself surrendering to whatever my muse wanted to make.

I had recently been gifted a set of Winsor & Newton Artists’ Watercolours with 24 colours in a beautiful transportable black box. The new paint had my muse salivating and my hunger to make small brightly coloured paintings seemed vast and insatiable. Before the lockdown, I had planned to make on-site landscape portraits with them. This idea was in keeping with my practice of visiting and relating to living natural landscapes, but traveling outside of my home was prohibited during lockdown.

In addition to the delicious paints, my partner inherited an equally delectable collection of National Geographic magazines from his father. Whenever I saw their bright yellow spines I remembered the remarkable pictures hidden inside and my childlike delight as I pored over the magnificent mysteries of our existence through their pages. Since my muse was completely uninterested in working with the only ‘living’ places I had access to — the interior of my home or my small garden — I decided to page through the magazines. I started to mark any images that thrilled me without pondering their meaning too much. I have used this technique in the past to access my subconscious feelings. It turned out that many of the images I paused on featured lone human figures in extreme natural surroundings; environments where the human body cannot survive naturally.

Surrendering to the muse: postcards from lockdown

My burning desire remained to make miniature paintings in my brand new luminous watercolours. I happened to have a few books of Fabriano Postcard watercolour paper available. There was something about the postcard format that appealed to me: the hint of possible travel and its capacity to carry messages beyond my forced incarceration. In the past, I have always used the actual place or my own photographs as references to paint from. Making use of magazine images was a departure from my usual way and alarmed me somewhat. Sailing this close to mere illustration had my academic fine-artist-self protesting: ‘I have a reputation to think of’ and ‘the Gallery will expect more consistency from you’… I ignored this voice and continued to surrender to what delighted and motivated my muse.

Thus, I commenced a ‘vigil’ dedicated to creating in isolation and produced one painting a day over many weeks. The human silence in the first three weeks of lockdown was heavenly: no traffic, no airplanes, and a communal energy of quiet withdrawal in the air. The comforting solitude punctuated by the occasional ringtone or electronic alert mingled with birdsong, a frog choir and the roaring river close by. This symphony of sound was the perfect context for delicate and detailed painting. I felt happy and at peace as my muse took me on an imaginative journey to some of the most extraordinary and far-off places on Earth.

Showing image 18 from Hanien Conradie's series 40DAYS
40DAYS – image 18
Artist: Hanien Conradie © 2020

These places, in relation to the inner places I discovered during this practice, made me consider what best-selling author and former monk, Thomas Moore, says in his book A Religion of One’s Own. Moore suggests that as human beings we know a considerable amount about our external world and that, in comparison, we know very little (maybe too little) about our internal worlds. The images from the National Geographic magazines were mostly about discovering and exploring our external world — not only the Earth and space but also the microcosm. In hindsight, I came to understand that the images I selected were not random at all. They resonated with and expressed the internal states I experienced during lockdown. I became conscious of the inherent wisdom of my muse and subconscious mind.

I have since come to an understanding that periods of isolation are essential for humans in order to cultivate inner stillness. It is important to make time to listen deeply to one’s inner reality and to know its terrain well. In my experience this practice also sensitizes us to be more receptive to the ‘voice’ of the natural world.

When lockdown was finally over, I walked down to the river and it was as if I saw an old and dear friend again after a long time of absence. This little ecosystem on my doorstep was so much more magnificent than ever before. And I delighted in noticing that so much had healed and grown since I had last visited: in the vegetation and birdlife but also within me. This enchanting encounter resulted in another postcard series of 21 portraits of the river, titled ‘My Sanctuary’ (2020), which I made for a South African friend living in the UK.

40 nights / 40 DAYS

Allowing my muse to direct my creative process opened up a more spacious attitude to the flow of life in general and, more concretely, helped me to manifest my desires; in this case 40 small bright coloured paintings. I am now able to ‘hear’ and act on subtle prompts from my creative spirit. One of these ‘nudges’ that came to me was a dissatisfaction with the blankness of the backs of the postcards; where greetings and messages should be. Without text the 40 postcards from lockdown did not seem complete.

I recalled fashion-predictor Li Edelkoort’s podcast about the future of fashion design after Covid19. It was a brilliant talk containing some strange capitalistic approaches to the crisis that I found intriguing. I sent this off to friends and one of them, John Higgins, responded with a voice poem.

Showing image 7 Hanien Conradie's series 40DAYS
40 DAYS – image 7
Artist: Hanien Conradie © 2020

As a writer and academic, John has long been interested in the question of montage — in film, visual media and in writing. As lockdown took hold, John says he found himself, “like many people in the first phase of Covid19 and the ensuing lockdown … overwhelmed by the tsunami of media coverage … [and] at the same time, reading it obsessively as some form of comfort or distraction.” As something of an active response to the increasingly eerie situation, he began to assemble a number of montage texts from the various books, podcasts, news bulletins and online media available within his lockdown environment.

From the talk by Edelkoort, John selected key sentences and put them together in a montage that revealed the underlying philosophical questions in a very humorous way. I sent him a picture of one of my postcard paintings in response. The combination of the text and the picture revealed a fascinating new meaning, which was a delight to both of us. And, unashamedly, I found my muse asking John to join the project.

Thus two parallel projects commenced, each serving as an antidote to calm our anxiety during uncertain times. John created 40 texts and I painted 40 images, independently from each other. Each project maintains a distinct identity when seen in isolation. In my process I selected images from National Geographic magazines, painted them, and — together as a montage — they revealed something about my inner world during this time. One could say that the 40 paintings are reliant on each other to create the meaning (or full picture) of my exploration. John in turn brought together, and set against each other, fragments of national and international news coverage and commentary with other varied readings from his day; also illuminating his questions and thoughts in relation to the pandemic. The 40 texts John crafted can be read separately but are more potent as one long text that leaves one with a sense of the strangeness of the lockdown experience.

Once we completed our separate projects we carefully paired the texts with the paintings. This process took some time, but eventually we settled on some intriguing combinations: some that were easy to understand, and others that created discomfort and ambiguity.

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Since the images were painted on blank postcards, we decided to incorporate the text as part of each piece. On the reverse of the cards (where address and message are normally written), I give thanks to my inspiration by referencing the National Geographic ‘address’ of the image: the article title, edition, page number and the photographer. In the ‘message’ section of the postcard I ‘performed’ John’s text by transcribing them by hand. The final artwork is thus double-sided and consists of 40 painted images each with its own message on the back.

Because of the double-sided nature of the final work, it was difficult to display the text and painting simultaneously. To solve this, John and I created a printed book titled 40 nights/40 DAYS: from the lockdown. Here we present the text and image together at a glance. This is when what we describe as a ‘third work’ emerges through the viewer, who makes associations and assumptions based on the information gathered from both sources. One could say that the viewer becomes the creator in this ‘third work’.

Our short film presented here, is another attempt to bring this third meaning to life.

40 nights/40 DAYS is a playful project about serious things. We hope it will both delight and provide some solace in these extraordinary times.


Find out more

You can see a different selection from Hanien’s postcard collaboration with John in her contribution to our Quarantine Connection series from April-June 2020. Hanien Conradie: 40 nights / 40 DAYS appeared on Day 36. All 40 images that Hanien used for the series are displayed at her website, and the original paintings are available from the Everard Read Gallery in Cape Town, South Africa. Contact ctgallery@everard.co.za for a portfolio.

Also available for purchase is the hardcover book, 40 nights/40 DAYS: from the lockdown. This can be ordered from Hanien at hanienconradie@gmail.com.

You can listen to the Business of Fashion podcast (27/3/20) featuring futurist Li Edelkoort, which triggered Hanien’s collaboration with John Higgins. The sources from which John took the textual fragments included media coverage from radio, television, and online sources such as Daily Maverick, The Guardian, the Washington Post and the New York Times; Li Edelkoort’s Business of Fashion podcast; and (dusted off and taken down from the bookshelves) Sir Edmund Burke’s Philosophical Inquiry into the Origins of our Ideas of the Sublime and the Beautiful (T. Noble: London 1845); Plato’s Protagoras and Meno (Penguin: Harmondsworth 1956); John Ruskin’s Modern Painters Volume 1 (Dent: London 1935); John Ruskin’s The Stones of Venice (George Allen: London 1906).

Hanien Conradie
Hanien Conradie
A fine artist concerned with place and belonging, informed by the cosmology of African animism within the complex human and other-than-human networks that encompass a landscape.
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Art Photography — Emotional Response to Global Crisis

Photographer Veronica Worrall explores how art can offer an important emotional response to global pandemic and climate crises, sharing her ‘lockdown’ project to generate images where photography partners with natural processes to produce a visual essay of optimism.


1,560 words: estimated reading time = 6 minutes


In the early months of Covid-19 lockdown I found an escape in an azure canopy. I mentally soared over my garden, taking refuge in the exquisite beauty of the empty skies. I found solace from the devastating pandemic. The budding leaves and blossoms showed themselves with exuberance against a royal blue which dimmed elegantly to the horizon. An occasional wisp of cloud offered a sense of distance — a dream hovering. Humanity was facing disaster and yet my garden was thriving. I was being torn between relief that nature was being given a chance and the tragedy that was unfolding across the globe. Like many I turned to capturing images of my garden’s beauty whilst I confronted human mortality.

I was reminded of the very first photographs which were taken to convey a state of mind, the work of Alfred Stieglitz. In 1922 and again 1923 to 1934 Stieglitz made photographic series initially called Songs of the Sky and later Equivalents. Stieglitz had a tumultuous affair through these years with the artist Georgia O’Keefe. He pointed his camera skywards “purposely disorientating”, purposely seeking to take his viewer to his own emotional state. The resultant images of clouds, more than 200, were Stieglitz’s equivalent of his emotions, what Emmanuelle de l’Ecotais has described — in his book accompanying the 2018 ‘Shape of Light Exhibition’ at the Tate Modern London — as “his inner resonance of the chaos in (his) world and his relationship to that chaos”. De l’Ecotais goes on to discuss the exhibited samples of the Equivalent images, suggesting that Stieglitz’s work, although not strictly abstract, was the forerunner of photography moving out from being a purely representative medium. This led the way for photographers to experiment with their own ‘equivalents’. They worked to convey creatively their own emotion following other artists of that time, such as O’Keefe, who were exploring how visual art might evoke the same emotional response as music.

So it is no surprise that many photographers during our 21st-century global pandemic have looked to portray their own psychological state. I was drawn to the skies to express both my joy and fear.

Emotional response and global crisis

This is not the first time in stressful moments that I have used the sky as a haven from my extreme emotions. For example, I took photographs following a Force 10 storm in the Arctic Sea after the boat on which I travelled responded to a Mayday callout. Eventually the other boat was found tucked into a safe anchorage and no one was lost, but the relief was short.

Showing Veronica Worrall's arctic photograph, 'Storm Passing'
Figure 1 – Storm Passing
Photograph: Worrall, V.M. © 2017
Showing Veronica Worrall's arctic photograph, 'Storm Over'
Figure 2 – Storm Over
Photograph: Worrall, V.M. © 2017

During this trip, I personally witnessed the extent of climate change. These photographs taken after the storm hold both my relief but also my fear of imminent danger. They spoke to me of a unique moment of time and space, when disaster can be averted. And so it was, one evening three years later, in the early days of our global pandemic, the sky outside my front door symbolised both my dread and my hope. My photograph I called Optimistic Outlook

Emotional response to climate crisis: Showing Veronica Worrall's photograph, 'Optimistic Outlook'
Figure 3 – Optimistic Outlook
Photograph: Worrall, V.M. © 2020

The image responds

This was a moment when my photography became an ‘art’ aesthetic. The importance of the image was the philosophy involved and my eye’s attempt (quoting George Clarke’s book, The Photograph) “to transform the most obvious of things into its unique potential” — an art equivalent. This image captured my passionate hope that we come through this global chaos with a deeper understanding of how humanity needs to change radically to avoid the predicted tipping point that would result in global chaos, set out in the Intergovernmental Panel on Climate Change’s 2018 special report, Impacts of 1.5ºC of Global Warming on Natural and Human Systems.  

Two months later, May’s warmth filtered into my garden, I was taking refuge in the blossom against perfect blue. I became mesmerised by the delicate beauty. I was not the only one. Facebook, Twitter and Instagram evidenced a burgeoning re-connection between people and the natural world. How could this be sustained? How could we stay reconnected?

Showing Veronica Worrall's photograph, 'Images Return'
Figure 4 – Images Return
Photograph: Worrall, V.M. © 2020

This thought seeded my ‘lockdown project’, a continuation of my earlier exploration of partnering with natural processes to make art, in ‘Project Unseen’. My photographs of blue skies and blossom were returned to the trees and left for months, as shown in the image above. Nature’s elements and creatures traced over my images. Whilst monitoring my images attached to the trees a few months later, I noticed the skies overhead were becoming crisscrossed with vapour trails as lockdown relaxed. The sky was symbolising my concern that lessons were not being learnt in a rush to return to unsustainable travel and consumer trading.

Showing Veronica Worrall's arctic photograph, 'Harbinger'
Figure 5 – Harbinger
Photograph: Worrall, V.M. © 2020

Reconnected in hope

Nevertheless, I was determined to continue with my ‘lockdown’ project. My ‘strung up’ photographs were taking a battering in a gale and many images had been significantly degraded — a layer of metaphor. I retrieved them and, although feeling despondent, I decided for this project I would not dwell on dark messaging but use these images as a visual essay of optimism — semi abstracts, my ‘Equivalents’ of hope. I would strive to stay positive in a time of chaos. The images Hope 1 to 5 are part of my project ‘Stay Reconnected’.

Emotional response to climate crisis: Showing Veronica Worrall's photograph, 'Hope'
Figure 6 – Hope
Photograph: Worrall, V.M. © 2020
Emotional response to climate crisis: Showing Veronica Worrall's photograph, 'Hope 2'
Figure 7 – Hope
Photograph: Worrall, V.M. © 2020
Emotional response to climate crisis: Showing Veronica Worrall's photograph, 'Hope 3 Passing'
Figure 8 – Hope 3 Passing
Photograph: Worrall, V.M. © 2020
Emotional response to climate crisis: Showing Veronica Worrall's photograph, 'Hope 4'
Figure 9 – Hope 4
Photograph: Worrall, V.M. © 2020
Emotional response to climate crisis: Showing Veronica Worrall's photograph, 'Hope 5'
Figure 10 – Hope 5
Photograph: Worrall, V.M. © 2020

Together Nature and I created colourful art pieces, symbolic of the much-needed partnership. We convey the joyful reconnection many had found in our gardens, parks and wayside walks. The images hold my hope for the Climate and Ecological Emergency Bill presented to the UK Parliament on 2nd September. This is the direction needed to preserve nature’s systems and diversity for future generations.

In past weeks the youngsters have returned to their studies preparing for their futures. Holidays are over and across the world Covid-19 cases are surging upwards again. Chaos is reported across trade and travel industries subjected to a conflicting renewal of government restrictions. The sky has returned to a dome of deep blue, wearing again its symbolic robe — asking us to revisit what is important. More than ever cooperative wisdom is required. Is it possible for our world leaders to collaborate on strategies, policies and practices that allow humanity to stay re-connected to the essence of our existence — the essence captured on cameras as trees blossomed under clear blue skies? 


Find out more

There is more on Veronica’s ‘Stay Connected‘ project and her earlier ‘Project Unseen‘ at her website.

You can see some of Alfred Stieglitz’s Equivalents series at the Met Museum’s online collection. As the note there explains, “In these purposely disorienting and nearly abstract images, Stieglitz sought to arouse in the viewer the emotional equivalent of his own state of mind at the time he took the picture and to show that the content of a photograph was different from its subject. The Equivalents trace Stieglitz’s emotional response to nature through periods of ecstasy and darkness, romantic engagement, and confronting mortality.”

Shape of Light: 100 Years of Photography & Abstract Art, by Simon Baker, Emmanuelle de l’Ecotais and Shoair Mavlian, is published by Tate Publishing (2018).

The Photograph, by George Clarke, is published by Oxford University Press (1997), in their Oxford History of Art series.

Impacts of 1.5oC of Global Warming on Natural and Human Systems is published by the Intergovernmental Panel on Climate Change (IPCC, 2018).  Michael Marshall’s recent piece in The Guardian (19/9/20) discusses The tipping points at the heart of the climate crisis.

You can follow progress (hopefully) on the UK Parliament’s Climate and Ecology Bill 2019-21, in the Parliamentary Business Progress. It is a Private Members’ Bill, presented by Green MP Caroline Lucas, “to require the Prime Minister to achieve climate and ecology objectives; to give the Secretary of State a duty to create and implement a strategy to achieve those objectives; to establish a Citizens’ Assembly to work with the Secretary of State in creating that strategy; to give duties to the Committee on Climate Change regarding the objectives and strategy”, and is due to be debated in its Second Reading in Parliament in March 2021.

You might also explore other artistic examples of emotional response to the climate crisis, for example in Deborah Tomkins’s ClimateCultures post Grief, Hope and Writing Climate Change. And in an interesting ‘working document’, Belonging and Imagination in the Anthropocene: A Social Action Art Therapy Response to Climate Crisis, Jamie Bird of the Centre for Health and Social Care Research at Derby University, addresses cognitive and emotional responses to climate crisis. He draws on experiences using “imagination and the concept of belonging in work with those who have experienced political and domestic violence” to propose how social action art therapy can offer a way of meeting the “intersecting forces that flow into and out of climate crisis”. He has also written about this research approach in a post for the university website (23/01/20), Climate anxiety: How can we process our emotional responses to climate crisis?

Veronica Worrall
Veronica Worrall
An experimental artist using photography to capture movement, time and natural processes, working with nature and traditional alternative photography in attempts to reduce her artist footprint ...
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Celebrating Clean Air Day

Artist and writer Selva Ozelli marks Clean Air Day with a roundup of international art shows she has curated and participated in during this year of pandemic, spurred on by urgent connections between our environmental and health crises.


2,380 words: estimated reading time = 9.5 minutes + 2 mins video


It has been an unprecedented year, with 13% more large, uncontrolled wildfires around the world compared to last year — spelling dire consequences for carbon dioxide levels, health and biodiversity, as well as the economy. And human actions in burning down ‘Magical Forests’ — as depicted by my childhood friend artist Mehmet Kuran — are mostly to blame, according to a newly released report, Fires, forests and the future.

wildfires and clean air - showing art by Selva Ozelli
“Wildfires in the Age of Corona”, Oil 40 x 30 cm, Canvas Paper
Artist: Selva Ozelli © 2020

The year began with Australia’s record-shattering bushfires, burning down a forest the size of England. According to The Guardian, “On New Year’s Day in Canberra the air quality reading was the worst on the planet: 26 times levels considered hazardous to human health.”

In April, nearly 20% of the forested area of northern Thailand burned, and wildfires overtook Indonesia and Ukraine’s Chernobyl region, causing dangerous levels of air pollution. By June wildfires lit up the Arctic Circle, with Siberia registering the most extreme recorded temperatures, resulting in the severest Arctic melting. By August a government researcher told Reuters that Brazil’s Amazon wildfires were the worst in the past ten years. The West Coast of the U.S. slipped into an epic wildfire season, which is still ongoing. These wildfires raging across the world smashed last year’s records for CO2 emissions, according to scientists at the Copernicus Atmosphere Monitoring Service, and aggravated respiratory ailments amid the ongoing global Covid-19 pandemic — the most devastating plague to ravage humankind this century.

This unparalleled year brought out the artist and curator in me for the first time in my life. The unprecedented global Covid-19 lockdown allowed me to allocate my time to expressing my thoughts and feelings about climate change and Covid-19 via paintings, in addition to my series of articles on digital technology adoption, solar energy and tax policies in jurisdictions with the greatest carbon emissions.

International art for global challenges

I took my first step as a curator with an art brochure for fellow ClimateCultures artist Rana Balkis’s Infinite Possibilities series. We are now entering what is known as the Fourth Industrial Revolution, but still fuelled by coal and fossil fuels — with adverse environmental effects. In this era, not only are we able to transmit our ideas and our art digitally around the world, but also the pollution from energising these digital technologies — as well as diseases affected by pollution. This triggered an urge in Rana to find a new way, through her art, to raise awareness of climate change and environmental consciousness. In Infinite Possibilities — with two paintings selected in the United Nations’ Covid-19 Artwork open brief — working in the style of collage, she intends her oil paintings to expand our curiosity and imagination so we better connect, understand and adapt to our technologically changing world by expanding our perception in the context of our stagnant values, behaviour and norms.

Since our atelier, led by Teymur Rzayev, is a space for many talented climate change artists and interesting artwork, next I curated Atelier Teymur Rzayev’s First Digital Climate Change Art Show, with five paintings that were acknowledged in six international art contests. As I reported for the ClimateCultures Quarantine Connection series, I initially planned our group show to take place at the Balat Culture Center in Istanbul. However, due to Covid-19 social distancing rules, it was cancelled at the last moment. Therefore, I had to quickly switch to launching a digital art show with the assistance of Cem Ustuner, the owner of Pinelo Art Gallery, so it could reach global viewers. Our group show was registered as UN Environment, Ocean and Desertification Days digital events and it received a favourable art review; it got ample international press and was published by the Jockey Club Museum of Climate Change, Hong Kong.

Clean Air

The good reception of this show encouraged me to continue curating ten, and participating in seven, climate change and Covid-19 themed art shows: four group, and three solo. These were published by the Jockey Club Museum of Climate Change Hong Kong, Climate Museum UK and over 160 museums, culture ministries and NGOs in over 40 countries around the world. I am pleased to share these art shows here today, to commemorate UK’s largest air pollution campaign: National Clean Air Day, which was launched in 2017. While this is normally celebrated on the third Thursday in June, due to Covid-19 this year Clean Air Day is celebrated digitally on 8th October in the UK.

Encouraged by the increasing interest of the international community in clean air, and emphasising the need to make further efforts to improve air quality, including reducing air pollution to protect human health, the UN General Assembly decided to designate 7th September as the International Day of Clean Air for Blue Skies, which was celebrated digitally for the first time this year around the globe with the highest level of participation from the UN — and Turkey’s Ministry of Environment and Urbanization, where Professor Mehmet Emin Birpınar, Deputy Minister, explained that “the coronavirus pandemic has shown the importance of clean air all over the world.”

But the largest ever global Climate Ambition Alliance — launched in 2019 and representing 452 cities (including London and New York City), 22 regions in 120 countries, 1,101 businesses, 45 of the biggest investors, and 549 universities — is the ‘Race To Zero’ campaign. It rallies leadership and support from businesses, cities, regions, investors for a healthy, resilient, zero-carbon recovery ahead of COP26, where governments must strengthen their contributions to the Paris Agreement, achieving net-zero carbon emissions by 2050 at the latest.

As part of the Race to Zero campaign, run in coordination with the UN and the City of New York, ex-Mayor of NYC Mike Bloomberg kicked off Climate Week in NYC on 21st September by announcing that Bloomberg Philanthropies and Sierra Club successfully retired 60% of U.S. coal-fired power plants — 318 out of 530 plants — via the Beyond Coal campaign. A day later, injecting new momentum into global climate action, President Xi told the UN General Assembly that China, the world’s biggest polluter of greenhouse gases, pledged to go carbon neutral by 2060 — only a week after the EU committed to increasing its emission-reduction target from 40 to 55 percent by 2030. On 27th September, the last day of Climate Week in NYC, the world’s first shipment of blue ammonia was transported from Saudi Arabia, which has the World’s second-largest oil reserves, to Japan — the World’s sixth largest CO2 emitter — where it will be used in power stations to produce electricity without carbon emissions.

“Desolate Tree”, Oil, 90 x 90cm, Canvas
Artist: Fatma Kadir © 2020

With world leaders taking important steps towards decarbonisation, I curated a group show Clean Air for Blue Skies and my solo digital art show Breathe Life with the theme of air pollution. These two art shows contain six paintings that were acknowledged in five international art contests of forest fires, lonely trees, gardens and portraits of artists who were economically impacted by the Covid-19 pandemic with their shows being cancelled.

My solo art show Breathe Life includes portraits of composer and singer Niall Horan (Heartbreak Weather – Human’s Inertia in the Face of Wildfires) and ClimateCultures artist Renan Kaleli (Pollution), who is working towards preparing an art show Climate Change to Corona, with five paintings selected in the UN’s Covid-19 Artwork open brief. These artists turned to launching digital concerts and digital art shows this year, so I have also included a portrait of Professor Erdal Arikan (Pollution 2), the creator of 5G technology.  

Urbanisation & Biodiversity

Serife Akkan explored the theme of urbanization and its impact on the environment and CO2 levels in her solo art show One Door One Hundred Trees. Serife wanted to bring attention to and set alarm bells about the destruction humans are making of their environment — particularly since she witnessed firsthand the rapid urbanisation in Istanbul during her lifetime and its impact on air quality.

One of the concerns associated with predictions of CO2-induced global warming is the claim that the number of birds and their habitat areas will decline. Conserving and restoring the ecological connectivity and integrity of ecosystems that support natural cycles are essential for the survival and well-being of migratory birds. Artist Fatma Kadir explored the theme of biodiversity in her two solo art shows Bird Watching 1 & 2, with sixteen paintings that were acknowledged in three international art contests to commemorate biodiversity in birds that are important plant pollinators and seed dispersers.

This July, less sea ice covered the Arctic Ocean than in any other July since scientists began keeping track of it with satellites in 1979. This marks another step toward the devastating and planet-reshaping inevitability of an ice-free summer for the Arctic Ocean. Artist Semine Hazar explored the theme of Arctic melting in her solo art show Sea Watcher. The inspiration was her trip to the Antarctic in 2017 where she witnessed the ice melting and, with a great sound, crashing into the sea. This brought tears to her eyes. Semine’s late husband was a captain. Captains determine their sea routes based on the silent light signals of lighthouses. With her sea and lighthouse themed paintings, Semine wants to draw attention to the importance of oceans to our world and our ecology as the largest carbon sink, and the need for us to guard them. She wants the silent signals from the lighthouses to be visible to all of us, not only captains of our world.

Covid-19

The current high levels of air pollution around the world have contributed to increased rates of chronic respiratory disease and impaired lung function in people of all ages, making air pollution a major and increasing threat to public health according to a study published in the journal Climate and Atmospheric Science. Many of the diseases that are caused by long-term exposure to air pollution are the same diseases that increase the risk of severe illness and death in patients with Covid-19.

In my two solo art shows Art in the Time of Corona 1 & 2, with sixteen paintings that were acknowledged in five international art contests, I explored whether climate change caused by CO2 might be one reason for such a terrible global Covid-19 pandemic which spread around the world like a tsunami alongside heightened CO2, penetrating deep into our respiratory and circulatory systems, damaging our lungs to the point where we become highly vulnerable to the coronavirus.

“Corona Corona”, Oil, 30 x 30 cm, Canvas
Artist: Selva Ozelli © 2020

The unprecedented pandemic has put an enormous burden on health systems and professionals worldwide. So far, more than 27.9 million people around the world have been diagnosed with the coronavirus and more than 1,000,000 have died, according to Johns Hopkins University. Some 18.8 million people have recovered. The pandemic unveiled the challenges and the risks health workers face globally including healthcare-associated infections, violence, stigma, psychological and emotional disturbances, illness and even death. These frontline workers are physically exhausted and emotionally strained from the harrowing experience of serving on the Covid response with respiratory as well as neurological manifestations.

To commemorate their sacrifice I have included portraits of Covid-19 frontline professionals, including Dr Esma Akin, Chief of Nuclear Medicine at George Washington Hospital in Washington DC, USA; Dr Kalbiye Yalaz — the teacher of Dr Akin — who established the first pediatric neurology department in Hacettepe Hospital; Lale Baymur Vanli, a Pediatric Neuropsychologist who is the first psychologist to be hired into the first pediatric neurology department in Hacettepe Hospital and daughter of late Professor Feriha Baymur, who established the first Psychology department at Hacettepe Hospital and University.

Finally, climate change artists Fatma Kadir from her Bird Watching series, Resul Rzayev from his Mountain Air series, and I from my Art in the Time of Corona series donated artwork to the Portakal Cicegi Project, which will be on sale until 15th October 2020 to raise funds for the orphans of Covid-19 frontline health care professionals.


Find out more

Selva’s articles have been published by the world’s first Climate Change museum, The Jockey Club Museum of Climate Change in Hong Kong, as well as over 100 other publications around the world. She contributed Tsunami / Chasing the Quarantine Blues Away for Day 22 of our Quarantine Connection series, and in September 2020 art.earth published her piece, Acknowledging the true cost of climate change.

You can find out more about Clean Air Day in the UK and the International Day of Clean Air for Blue Skies campaigns, where the UN has described air quality as a two-fold problem, with both health and climate impacts. WWF published its report Fires, forests and the future: a crisis raging out of control? in 2020. You can read 8 things everyone should know about Australia’s wildfire disaster, published in Vox about the start of the bushfires in January 2020, with the Guardian reporting how “for months, Australians breathed air pollution up to 26 times above levels considered hazardous to human health. The long-term impact could be devastating” in Inside Australia’s climate emergency: the air we breathe. In June CNN published Temperatures in an Arctic Siberian town hit 100 degrees, a new high. In September, Reuters reported Exclusive: Brazil Amazon fires likely worst in 10 years, August data incomplete, government researcher saysThis Nature Briefing from June 2020 suggests that Half the world’s population are exposed to increasing air pollution.

Artist Rana Balkis is also a ClimateCultures member. You can view Selva’s and Rana’s paintings for the UN Covid-19 art show at the Trvst website, and Selva’s brochure about Rana’s Infinite Possibilities series is published by Issuu. The international art show Atelier Teymur Rzayev’s First Digital Climate Change Art Show was featured in Coin Telegraph in May 2020, with a slideshow available in this piece from the Jockey Club Museum of Climate Change, Hong Hong. The Museum also has this slideshow of the Breathe Life art show Selva curated, and you can see slideshows of the Clean Air for Blue Skies art show, as well as the ‘One Door One Hundred Trees art show she curated for Serife Akkan, the Bird Watching series from Fatma Kadir, Semine Hazar’s Sea Watcher show, and Selva’s own show, Art in the Time of Corona.

Selva Ozelli
Selva Ozelli
An environmentalist working as an artist, writer, international tax attorney and public accountant, who has curated a Climate Change Art Show at Balat Culture Center, Istanbul ...
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