Climate Journeys Part II: Sailing the Southeastern U.S. and the Caribbean

I live in nature. Surrounded by it, I experience every subtle shift and change. I witness an amazing array of species as they inhabit the same place, and I am exactly where I want to be. I never could have predicted this would be my life. I never thought I’d give up my studio, my workshop, all my tools and supplies. I loved being a full time studio artist. But at some point, as an environmental artist, it wasn’t enough. As my ideas grew, the studio felt too confined, too removed, so isolated and incapable of adequately experiencing and expressing (incubating and containing) what I needed to say. Being more visual than verbal, that’s really what art is to me; another means of expressing a concept or idea. Having sold the bulk of our possessions, my studio now fits in eight small drawers and paints live in a tiny bin. The sailboat is impossible to keep tidy and organized, and mold is a constant problem. But when I step

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Teresa Posyniak’s Beautiful Losers

Teresa Posyniak is a painter and sculptor best known for her work with encaustic, using hot beeswax to create rich, sensual surfaces that incorporate textures, drippings, splatters and layers of tinted, glowing colors. She is also an artist exploring climate change issues in Calgary, Alberta – a city that boast over 100 energy companies, mostly in the oil and gas industry. One of the fasted growing economy in Canada, with the tar sands literally in its backyard, Calgary does not play well with those who criticize its economy’s main driver. Yet artists still find a way to make their voices heard. Note: The photos included in this post are studio shots of works in progress that will become part of Beautiful Losers: My Carbon Sink Muses. Each photo is a detail of a much larger installation. There will be at least 9 columns in total. Tree forms will number about a dozen. Bleached Forest will be one much larger piece with many more elements. You’ve provided this blog with a

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International Women’s Day/Month 2014

With March being #IWD month, I’ve spent several days scouring the internet for inspiring stories of creative women using their art to raise awareness about climate change.  Here are two videos — one from the west coast, one from the east coast — which highlight the important contribution that women artists are making to the global climate change conversation. Australian Margaret Wertheim’s amazing TED talk describes the global hyperbolic Crochet Coral Reef (CCR) project which she and her twin sister Christine created and curate through their Institute For Figuring (IFF) in Los Angeles, California. The CCR is an ongoing, experimental,  participative feminine handicraft project that re-creates coral reefs using the technique of “hyperbolic crochet“.  Below are two images from the IFF’s Crochet Coral Reef website, reprinted here with permission: According to the IFF website, this unique fiber arts project is “the nexus of maths, handicrafts, environmentalism, community art, feminism and science” and, simultaneously, “a testimony to the disappearing wonders of the marine world” due to climate change,

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Dare to Trust

Mike Cook is a sculptor who is passionate about recycled metal. After a lifetime working in the public and private sectors, where, among other things, he commissioned public art for the Portland Development Commission and managed the corporate art program at Mentor Graphics, he is now devoting his retirement to making his own art. His sculpture has been shown on the North Coast at CART’M Recycling’s Trash Bash, CBAA Green/Verde, Shadow and Light, and Clatsop CC Student 3D. I asked Mike to talk a little bit about his inspiration, his process, and why artists should address climate change. What inspired you to start working with recycled metals? When I was little, our Detroit home and yard was very tidy. But we looked out into Mr. Miller’s yard strewn with junk metal. My mom would say, “Just look at your room. You don’t want to grow up like Mr. Miller, do you?” I guess I did. Detroit itself had its influences: Iron Country,

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