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Changing Horizons Art and our ecological footprint

What is the role of art in solving the climate crisis? Is it best used to highlight the beauty and importance of the natural world, or should art be a device that teaches the viewer how to respond to environmental challenges? For this exhibition we invited BC artists to submit their original artworks that focus on exploring how art can be used to shape our experiences and beliefs around climate change. These fifteen artists have created work that uses the natural world as its medium, that focuses on the fate of our planet through a political lens, and even offers solutions for reducing our carbon footprint.

Take a trip through this virtual exhibition presented by the Burnaby Arts Council.

*Click or Tap on the photos to enlarge and view the full artwork

Feature photo: Fairy Bonsai by Adam Gibbs from our 2015 exhibition Photographic Convergences.

Featured artists:

The Last Migration (2020), David Righton, Acrylic on Canvas, 30" x 40"

David Righton

Whether the subject of my art is animals, people or objects I enjoy the challenge of creating something visually interesting and dynamic through use of bright colours, geometric shapes and multi layering techniques. Often containing graphic design elements and themes of nature mixed with modern daily life, I try to give the viewers a little bit of familiarity with enough layers and clues to keep them engaged and discovering new elements the longer they look.

Roman Holiday (2020) by Aaron Tong, Dryprint Intaglio Print, 12"x9" in

Aaron Tong

My name is Aaron Tong and I am in my final year of my Visual Arts Major at the University of British Columbia. Throughout my years there, I have taken courses in drawing, painting, film photography and printmaking, with some of my works being selected for the annual Visual Arts Undergraduate Show at the Audain Art Centre at UBC in 2017, 2018 and 2019. My most recent art showing was at the Hong Kong Students Initiative HKSI Archive Launch in December 2019 where I displayed an acrylic abstract painting titled Oil and Water, alongside oil paintings by Tammy Flynn Seybold. I plan to teach art as a subject at the secondary school level in the future.

About the artwork

This work is a continuation of my third-year drawing Drifting in Space where my art surrounded the common theme of how Climate Change is affecting the world we live in and its tourist landmarks. This print visualizes what might occur once cities are flooded by rising sea levels. Another interesting take is nature reclaiming areas that have been remade by mankind. It’s interesting to think that this might be how we see foreign landmarks in the future from a submersible or these cities just become completely inaccessible to the public. Flooding a city can occur over several decades or overnight, which helps to question the stark, sterile aspect of the background and foreground of the piece where there is an absence of vegetation as we might see on a typical ocean floor or underwater cities.

Family: Ericaceae. (Gaultheria shallon) Salal (2019), Laara Cerman, C-print, 40"x30" in

Laara Cerman

Laara Cerman’s work explores the intersection of art, science, and history through investigating patches of wildness that survive within suburban and urban landscapes. Her explorations continue into the forests of British Columbia where she aims to teach herself how to see the diversity of the forest floor in the midst of an era where this knowledge has lost its priority but not its importance. With an ongoing practice of collecting wild plant specimens, Laara is creating a digital herbarium documenting the life cycle of plants while learning about different aspects and uses of flora growing in Canada’s most biodiverse province. Through learning about the role of plants in the ecosystem and the gifts they offer us, one becomes more conscious of the mutual connections of life and the importance of reciprocity between humans and the Earth.

Laara creates her photographs by capturing multiple digital images and then pieces them together in post-production, a skill she has mastered through working as a freelance retoucher in the commercial photography industry. Currently, she creates her digital images using a regular, flatbed, office scanner rather than a sophisticated camera. Paradoxically, the crude scannerproduces images that appear hyper-real in part due to their macro and larger-than-life clarity that emphasizes extreme detail one would normally have difficulty seeing with the naked eye. The images have an extremely narrow depth of field and low luminosity, making the subject appear to be floating in a black void of space, creating a feeling akin to a memento mori. She is currently focused on documenting the wild plants of British Columbia for one of her more recent series Codex Pacificus.

About the artwork

This body of work is a modern interpretation of the millennia-old art of botanical image making. My focus are the wild plants, both native and naturalized, of my home British Columbia.

There is rich Indigenous knowledge and practice associated with native plants, however through colonization much of this knowledge was lost to many people living here. My deepest respect and appreciation goes to the First Peoples of the Pacific Northwest for their knowledge of harvesting, preparing, and using indigenous plants since time immemorial. Rather than appropriate the knowledge given to us by the First Peoples I try to pay tribute to its richness and importance.

As medicine became available in concentrated pill form and food easily accessible through grocery stores rather than directly through forest and farm, western society’s reliance on wild plants as medicine and as food has faded and thus our knowledge of local plants has degraded.

In an age where one is increasingly bombarded with media, one is more capable of identifying different brands than being able to recognize local trees, plants and wildflowers. These hyperdetailed,macro photographs of common British Columbia wild weed and flora are my attempt to reconcile my disconnection from the natural world around me and to learn about the environment that I live in.

Codex Pacificus originally started as simple scans meant to be kept as a record for plant identification similar to herbariums of pressed plants kept by scientific institutions around the world. It has since grown into documenting the life cycle of wild plants. Time is an important aspect to the work as the images must be captured quickly (before the plants wilt) yet are slow to create, often taking months to gather the plant in the entirety of it’s life cycle.

I find these plants in unrecognized and under utilized spaces and I return throughout theyear. These spaces become lush with diverse flora which are great habitats for bees, birds, and butterflies. Frequently these areas full of wild plants are mown down essentially destroying much needed ecosystems for pollinators and are thus replaced with a homogeneous, green, manicured lawn devoid of diversity.

This is an ongoing series, one I hope will never be complete.

  1. (below left) Family: Rosaceae. (Rosa nutkana) Nootka Rose (2017), Laara Cerman, C-print, 40" x 30" in
  2. (below right) Family: Rosaceae (Holodiscus discolor) Oceanspray (2019), Laara Cerman, C-print, 40" x 30" in
Tap or click on the image to enlarge
Future Memorial (2017), Jake Collinge, Digital

Jake Collinge

Jake Collinge is a designer, illustrator and painter. His illustrative works often involve nature and humanity, including their frequent modern conflict, and furthermore with our rapid involvement in technologies. He is currently working on several book projects, including an inquiry into our inner anxieties and loneliness, editorial illustrations and visual development from his home studio in Vancouver, Canada.

Since beginning a career in 3D modeling and entertainment design in 2007, Jake has continued to broaden his mediums, influences and exposures, from casual traditional art showings to print illustration and game design projects. He looks forward to furthering his investigations of how his skills utilized by feature animation and professional game projects can pair up with activist art, critical messaging and more broadly, illustration.

About the artwork

When it comes to environmental and wildlife issues, I try to create images that show mankind’s direct impact within an unfamiliar context. Media, science reports and even casual conversation demonstrate commonplace knowledge of climate impact, and yet, until we find a personal motivation to hold onto, we may not know where to engage with the worldwide issue.

My entries include works that test our known issues in a variety of human involved situations. ‘Future Memorial’ sheds light on only a few dozen of over seven hundred North American species listed as critical (CR) or endangered (EN) by IUCN’s RedList. These species are galvanized in a tree-like web for admiration, proudly dwarfing the surrounding spectators that were involved in their destruction. Can we recognize a growing ecological cost due to our flashy and temporary fixations? We will seek solution for the obvious and direct materials we consume; will we also examine the invisible concept of status, a suspect from which these cravings manifest?

Mama Emerald, Nickole Lewis, natural materials

Nickole Lewis

I have been making art in various mediums for the past 10 years. I have showcased my art at various public arts events over the last 6 years. Currently I have been working towards using more sustainable artistic mediums such as twine and sticks found on the forest floor. I have successfully created 7 sculptures in a south Burnaby park using this medium.

About the artwork

This is a part of a collection of sculptures created with a only a few screws, and the rest is only twine and sticks. The sticks are gathered from the area in which these sculptures live and the twine used is jute. These were created with the purpose of creating something that nature could control. The twine will decompose and the sticks will rot, and nature will decide if they fall back to the earth or morph into something completely new.

  1. (below left) Lilith the Sleeping Fairy, Nickole Lewis, natural materials
  2. (below right) The Guardian of the Forest, Nickole Lewis, natural materials
Life Lines (2014), Jennie Johnston, mixed media quilt installation, four 36" x 25" in panels
Viewpoint (2018), Jennie Johnston, Mixed media quilt, 33" x 39" in

Tap or click on the images to enlarge

Jennie Johnston

Jennie grew up in rural Quebec and has a Fine Arts Degree from Mount Allison University in Sackville, New Brunswick.

On the journey to find her artistic voice she began combining traditional craft techniques like embroidery and quilting with painting and fabric design. Her work has been displayed in group exhibits across Canada, the U.S and Italy, two solo exhibits in Burnaby, and she contributes to social activist art projects from all over the world including Australia and Mexico.

Over the course of the 2017-2018 school year Jennie was Artist-In-Residence at Forest Grove Elementary school in Burnaby. During the residency 300 students created 5 unique quilts and learned traditional and artistic textile skills.

She makes videos about her art process and her love of books on her YouTube channel and lives with her husband and two sons on the unceded territories of the Kwikwetlem, Tsleil-Waututh, Sto:lo, Qayqayt & Musqueam peoples.

About the artwork

Through two-dimensional art pieces meant for traditional gallery wall display and interactive projects meant to engage the community with textiles, I create quilts that have surface design elements such as paint, embroidery, photo transfer and stitch. I seek to draw the viewer into an intimate experience, moving the eye across the surface in a textural journey.

When making work about our environment I place our actions as human beings in the forefront. Beyond the beauty of nature, what impact do we make through our selfish desires and how can we take responsibility for our actions and work in stewardship and reverence of our life source?

When we deconstruct the urban experience peering into the materials of a city we are faced with layers of concrete, steel, and glass. Opening a dialogue concerning our impact on the planet and our impact on each other is needed today. How do we connect to one another when the city landscape encloses us in isolated boxes? How do we connect to nature and remember our current impact if we do not extend beyond our interior world? Can tools of the past help us to form community and manifest a more sustainable future?

Using cloth, embroidery, quilting, and other mixed media I make soft and tactile surfaces. My work centers on issues of the natural world, social justice, and a personal dialogue with and reverence for our earth and the cosmos.

Triptych: An African Landscape 1. Seep, 2. Diamond in the Rough, 3. Waiting on an Empty Pool Images available separately (2016), Valerie Durant, Photography
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Valerie Durant

  1. (top) Triptych: An African Landscape 1. Seep, 2. Diamond in the Rough, 3. Waiting on an Empty Pool Images available separately (2016), Valerie Durant, Photography
  2. (left) 500 years either way (2020), Valerie Durant, Photocollage, "14 x 20" (22" x 28" in framed)
  3. (right) Polar Thaw (2020), Valerie Durant, Photography, 27" x 42" in with frame

Valerie’s practice includes photography, sound, video and sculpture.

She explores human impact on the natural world, considering the fluid and seemingly invisible interconnections with the forests, rivers, the land and the sea, while considering adaptation and regeneration in nature. She lived and worked in Africa for many years and experienced the direct impact of climate change on the most vulnerable through diminishing biodiversity and extreme weather events. Sea level rise and ocean acidification are topics of her visual exploration.

All Images are limited edition prints of fine art archival paper

  • Edition 1: dimension 14 x 20
  • Edition 2: dimension 27 x 42”
Rewilding I (2020), Cath Hughes, Collage on paper, 22" x 30" in

Cath Hughes

Cath Hughes is a British-Canadian visual artist who works across painting, assemblage, installation and collage and is based in Vancouver. She holds a BFA in Painting from Oxford University and an MA from London University, and recently completed the graduate correspondence course with Turps Art School in London. Cath currently works as an instructor at Emily Carr University and Burnaby Art Gallery.

About the artwork

Trained in painting, Hughes’s work now takes many forms including collage, assemblage, installation and mixed media paintings. All are informed by an approach to collage or bricolage which taps into the unconscious to evoke poetic and psychological associations.

This series of collages on paper entitled ‘Re-Wilding’ developed in response to issues of climate change and a questioning as to what this term might mean, both for civilization, and for us as individuals. How can we ‘re-wild’ ourselves and our planet, to find fecundity of our imaginations, our hearts, and our habitats?

Path (2020 ), Eunju Hong, Acrylic on canvas, 48" x 60" in

Eunju Hong

I believe that every day is art. Drawing day by day without wanting to stop and expressing every perspective through the various colours and textures. An artist who is determined to paint a new landscape, my name is Eunju Hong. I moved to Canada back in 2004 with a belief that I can continue my love for art in a bigger nation. I believe my art is the nature that I see, drawn with every emotion. I started painting the trails I walked, and noticed many people walk and pass the same path. Even by passing the same place, I started to notice the changes in the environment such as the colour, the weather, the scent and the texture of the grounds. These differences allow me to create my artwork where another world unfolds. Although my artwork is expressed in my own colour, I paint with the hope that I can sympathize and feel the wonders of nature.

  1. (below left) no title (2020), Eunju Hong, Acrylic on canvas, 24" x 36" in
  2. (below right) no title (2020), Eunju Hong, Acrylic on canvas, 48" x 48" in
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Supporting Growth (2020), Katie Rodgers, Acrylic on deep gallery wrapped canvas, 24" x 24" in
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Katie Rodgers

  1. (top) Supporting Growth (2020), Katie Rodgers, Acrylic on deep gallery wrapped canvas, 24" x 24" in
  2. (left) Regeneration 4 (2020), Katie Rodgers, Acrylic on deep gallery wrapped canvas, 24" x 24" in
  3. (right) Regeneration 1 (2020), Katie Rodgers, Acrylic on deep gallery wrapped canvas, 24" x 24" in

Katie Rodgers is a North Vancouver artist and resident, displaying and selling work in the Vancouver area for the past twenty years. The Regeneration Series includes paintings depicting the constant renewal of life emerging on the old growth stumps of North Vancouver and the lower mainland. The paintings attempt to convey the combination of energy and calm found in the forests as well as the lush layers of vegetation surrounding the strong foundation of the stumps.

About the artwork

As a British Columbia resident, I continue to be impressed by the beauty of our province, its various natural environments, its gateway to the Pacific, and to the entire west coast. My painting is in response to my interactions with these many natural wonders. Specifically, in the series Regeneration, I am inspired by the constant growth of new life and see it as an expression of something positive and joyful. During the Covid-19 pandemic, being at home with restless children has necessitated several walks each day in the surrounding woods to release our pent-up energy. The Seymour Valley has many beautiful trails which are a source of creativity and entertainment for us all. While my children were imagining space settings, castles, and forts in the stumps, I began to picture these sculptural giants in other colours, with personalities and moods, animating them as well as contemplating them as they once were. In the face of their historical desecration they speak today of unending cycles in nature, and its will toward growth as they harbour the young sprouts that are emerging.

From a strictly visual point of view, the shapes themselves are beautiful with intricate layers of roots, branches, and new growth. The stumps are supportive of their energetic looking offspring. The leafy backgrounds are delicate and almost lacy in comparison. My objective with this work is to show these instantly recognizable shapes from a new perspective. For more of the Regeneration series visit the link below.

Inhabitants (2015), Su Chen Wu, Ink on paper, 53" x 26" in

Su Chen Wu

Su Chen Wu was born in Taiwan and acquired her MFA with a scholarship. She started with Western art traditions in middle school but switched to ink painting in university and graduate school. After immigrating to Vancouver, the natural landscape encapsulates Su Chen even closer to the ecological environment found in water-ways and forests. Her recent artwork focuses on a series of driftwood and migratory birds. The metaphorical stories of driftwood and migrating birds seek to address the conditions and impact of immigrants in Canadian culture and environment.

About the artwork

With time passing and climate changing, the sceneries in my artworks would no longer exist in real life after being painted. I always describe myself as an eco-conscious artist and a lover of wildlife. In my artistic practice, I employ organic materials, including bamboo brushes, ink sticks, ink stones, pigments, papers, and water to record variations of the natural environment. My ecological project artwork is a tribute to our land and a ceremony to farewell with some driftwood and waterfowls, for we might not meet again.

Growing up in the countryside of Taiwan, I developed a strong love and connection with nature at an early age. In 2008, I immigrated to British Columbia, Canada, a beautiful place full of forests. Along the west coast, mountains, lakes, rivers and islands formed a natural ecosystem and a route of bird migrations. During the time of my exploration, numerous driftwood was continuously washed onto the shores by natural and industrial forces such as flooding, windstoming, and logging. The countless driftwood seemingly useless and rotted debris; however, they play an indispensable role in our contemporary ecosystem. These tree trunks become shelter of fungus, mosses, and other aquatic species after experiencing many vicissitudes of life. Some trunks play birds’ carriers on the water for fishing or resting stops on the shores for napping. Surrounding the natural neighborhoods, driftwood, and migrating birds enchanted me deeply, but the scene seemed the metaphor of my own journey: far from my hometown with loneliness.

Since 2015, I have been visiting Iona Beach, Deer lake, Fraser River, and west coasts in BC frequently to focus on a contemporary art project of ecological environment. I noticed that the horizons are changing all the time, especially with the driftwood and waterfowls which stay on the shores temporarily for days or even just a few seconds. Therefore, I tried to catch every touching sight and remembered the feeling of each moment immediately before the inspiration vanished. I believe that scenes might not exist for a long time, but the spirit and glory of natural ecology could be retained for centuries by painting.

An idea of Chinese Daoist philosophy - “Following the Nature” advises us to let nature take its course rather than go against it; however, our BC’s rich ancient forests are facing the crisis of high-grade depletion due to our urban growth with high-rise residential buildings rising up around Marine Way, Burnaby Mountain, and other areas in metro Vancouver. By observing and recording the micro ecosystem of the driftwoods, my artistic practices are aiming to reflect the relationship between humans and nature as well as remind people of what we have possessed and lost.

  1. (below left) Changing (2017), Su Chen Wu, ink on paper, 53" x 26"
  2. (below right) Lost Horizon (2016), Su Chen Wu, ink on paper, 23.5" x 33.5"
Short-Eared Owl – Delta, BC (2020), Ray Maichin, DSLR Camera, 4312 x 2875 px

Ray Maichin

Through work, school, and volunteer projects I have always brought my camera and have come away with some amazing photographic opportunities because of it. At some point I realized I had to look at the bigger picture and ask why I even had these amazing opportunities to photograph wildlife and landscapes across the globe. In our own province and despite promises to stop, our provincial government continues to allow unrestrained logging practices in old growth regions that house endangered wildlife such as the Northern Spotted Owl. The Port of Vancouver is also planning on expanding, which if not halted would threaten many incredible local species such as the Short-eared owl seen in one of my submitted photos.

Worldwide, we see so many incredible habitats go up in flames or destroyed because of our need to maximize profit and produce more things we don’t need. In Southeast Asia, elephant and orangutan habitat are being decimated daily. I believe it is our duty to stand up for creatures such as these who do not have their own voice, and in my case use my photography to accomplish that goal. We are ALL incredibly fortunate to share our world with these extraordinary creatures and their amazing habitats which are beautiful and intrinsically valuable in themselves. I believe we owe it to these fragile ecosystems and the wildlife that inhabits them to do our best to preserve them.

Plastic Ocean I, Kristin Man, Mixed Tech

Kristin Man

Born in Hong Kong, Kristin Man is an internationally renowned visual artist and writer with roots in three continents. An Alumnus of United World College of the Atlantic in Wales, (founded after World War II literally to promote international understanding by Sir Kurt Hahn), one of Manʼs first loves, and the inspiration for many of her photographic based works, was the Atlantic Ocean coastline which was visible on campus. Man first explored her practice in photography at the College and combined her love of the ocean with photography in a unique series of works. She carried on her artistic practice alongside her pursuit of a BA in International Relations at Brown University and an MBA at Columbia University as well as her later career in a different sector. Plastic Ocean 1, Plastic Ocean II, Tribute to Zong! (JMW Turnerʼs Slave Ship) and When Vesuvius Rises in Vancouver are delicately hand woven photographic images forming the basis for her series “A-mare” which explores the idea of celebrating diversity and using water as the channel which rises above territorial and cultural borders. Having spent years in Italy on previous projects, Man is well familiar with all of the regions of the country and the Italian language is central to her cognitive process. In Italian “amare” is the verb to love and “al mare” means to [go to] the sea. “Ma” is the universal derivation from mother and in addition the Chinese ideogram of sea contains the ideogram of mother. A combination of these expressions and words gives birth to the concept that if to go to the sea is to love then there is no specific location where we are to love. If to be closer to the sea means to be closer to the source of life, then there is no better reminder of the connectedness of humans than the sea. Her education and travels around the world gave Man the basis for her exploration of the themes of diversity and integration. The unique weavings of each distinct image in her works from this series emphasizes the interconnectedness of both people and cultures, illustrated through the fluid properties of water and the interconnectedness of our oceans. Recently, her video work from the series “A-MARE” has been selected to play a part of the US based global solidarity project “Transcultural Exchange” and this bears testimony to her continuous endeavours of making art in sync of her philosophy of living. Man has exhibited extensively at art fairs internationally and her work can be found in private collections throughout the US, Italy, Singapore, and Beijing.

About the artwork

My life and my art traverse inside-out and outside-in. I imagine that I am from the planet of Venus and have recently relocated back to Vancouver from other continents. Challenging man-made boundaries, respecting diversity and celebrating oneness are important to me. Globalisation, migration, anthropocene and consumerism among many common human issues have generated questions regarding our identity as individuals and in relation to other human beings as well as our environment. To tell my story, I would like to highlight three key projects:

“Fragments of Grey Matter”, “9_9” which are projects released as books and exhibitions and my ongoing project “A-MARE”. At this show, you see a few manifestations from the series “A-MARE”.

“Fragments of Grey Matter”, set in Singapore, examines the notion of beauty in a not-so-aesthetic environment with a self-transformed perspective, “9_9”, set in Italy, examines the multi-layered questions of identity and reality through meeting with other artists and expressing "our" collaboration in our double self-portraits. I learnt that exploring sense of belonging in a foreign country is perhaps best done via creating communities. Through hand-weaving and sculpting of my photographic images taken around the world, Project “A-MARE” ("to love, to sea") seeks to integrate what maybe our life source and of our un_consciousness—just like the fluid nature of our oceans. It is a meditative journey towards our roots, perhaps, towards our shared humanity--the good, the bad and the ugly.

Overall, I think of myself as still growing up. I invite viewers of my work to ask questions and be Artists in Life.

Hot Steel Flowers (2012), Ron Simmer, Recycled steel, aluminum and chrome, 8' x 5' x 5' ft

Ron Simmer

Ron Simmer works in the area of Vancouver, BC mainly with found materials and objects. He searches for discards that speak to him with the promise of sublime creations that will amaze, tickle, surprise or give pause to think. He enjoys the mental game of taking consumer rejects and making the mundane and common into the unique and spectacular. Since we live in a world in which almost everything is commoditized it is his challenge to repurpose consumer products into the unusual, amazing and funny Ron recycles materials from our consumer culture to create fanciful commentary on modern society. He attempts to take people back to their childhood by creating large scale toys and colorful birds and animals. His art is created to be an interactive physical experience and often incorporates optical illusions.

About the artwork

I search for materials and objects that speak to me with the promise of sublime creations that will amaze, or tickle or surprise or give pause to think. I enjoy the mental game of taking consumer discards and making the mundane and common into the unique and spectacular. We live in a world in which almost everything is commodified – it is my challenge to repurpose consumer products into the unusual, diabolic, amazing and funny.

Humor has always been a strong element of my writing and publishing, such as my series of Bizarre Patent Calendars. Juxtaposing the right combination of physical elements in an installation to produce a laugh is one of the most fulfilling experiences one can have and the most direct form of instantaneous communication……

I am disturbed by the downward spiral of environmental destruction and in my art I illustrate a possible future Anthropocene of flowers and animals made of twisted metal and shredded plastic.

Episodic Thoughts_Overhaul (2020), Abhisek Mukherjee, Mixed Media, 22" x 18" in

Abhisek Mukherjee

Abhisek Mukherjee was born in Kolkata (formerly Calcutta), a pioneering city in Indian renaissance, a place long known for its literary, artistic and revolutionary heritage. Mukherjee has taken a keen interest in art and design since childhood, and holds a Master of Design from NID, a premiere design Institute in India. He is a biophilic sculp­tor, using elements from nature to create scapes and installations. His early work also includes photo-doc­umentaries and clay models. An apparel designer by profession, he is a winner of Best Collection at Max Design Award (2014) and has worked as a designer at Ed Hardy.

At the age of eight, inspired by his father, Mukherjee made his first plant-scape and developed an interest in “painting” with plants; he would collect and bring home natural pieces with which to create eclectic art. He has recently moved to Vancouver, a city abundant in nature that serves as a muse reflective of his art forms. Mukherjee has started a line of planters and handmade cards called Buno, which means “wild” in Bengali, his mother tongue.

Mukherjee’s key purpose and ideology in creating bio designs is to establish a connection between art and its collector. Having seen much magnificent artistry gathering dust, he prefers to explore a medium wherein a user interacts with the sculpture. He celebrates the importance that plants hold in our lives and hopes to someday open a gallery inside a greenhouse.

About the artwork

Life is a series of breaths: to see a perspective only when the seer and the seen are perfectly aligned. It means there is a connection between them, and an environment of looking after. The interaction that takes place, acts as a directive for the art to ingrain a part of the owner's personality.

The current state of the world has brought about many changes within us and our relationship with the environment. A time where ingrained dynamics are being rethought in hope of healing and saving our planet that we call home. In my time during the residency, should I be fortunate to get a grant, I shall through my design implore fellow beings to understand the delicate yet resilient beauty of ecology and how to best enjoy it.

As a biophilic designer, I consider it my duty to profess my learnings through a series of work that can live in one's house, a place which they take care of and protect. The same understanding of how nature around is a house to numerous species and needs to be protected just like our own home else, imbalances lead to a situation we are in today, yearning to enjoy the smallest fragment of the earth while most of the world stays locked inside.

My work is a medium for people to interact with nature and create a sense of awareness. We identify the most significant place in our childhood with the outdoor experience the natural environment in a deep and direct manner, not as a background for events, but, rather, as a factor and stimulator. An experience where one is involved, with his body, his senses, and his awareness, is likely to be etched in memory for a long time; and the sympathetic attitude one displays toward nature is likely to accompany the experience even when recalled in memory.

Credits:

Fairy Bonsai by Adam Gibbs from our 2015 exhibition Photographic Convergences.