Elegizing Ice: Jaanika Peerna

A person standing in front of a body of water with the arms out

Description automatically generated with medium confidence

Glacier Elegy Brooklyn, performance in public space with three performers and audience members, one block of ice, two sculptural elements, took place at the Brooklyn waterfront, New York City, October 20, 2020

New York-based artist and educator Jaanika Peerna grew up in Estonia during the Soviet era. Her drawings, installations, and performances all embody a sense of constant movement and change, either chaotic or orderly, that personifies the elements of water, ice, wind, air, and light. Peerna attributes many of the choices she has made about the materials she uses as well as her working methods to her childhood in her native land of ice and greyscale colors along the Baltic Sea. It was there where her body learned to embrace the movements specific to gliding on ice, where she observed the varied lines that skates made on the surface of ice, and where she mastered the use of the limited art materials available in the local Soviet-style school system – especially drawing with pencils on paper. To this day, she sees all of her work as drawing, “whether it is video or light installations, placing works in a room, drawing in space, leaving lines on paper, traces of movement and now performance.”

Continue reading “Elegizing Ice: Jaanika Peerna”

In the Beginning There Was Only Water

Map

Description automatically generated

In the Beginning There Was Only Water: Panels 19-22, each panel 30″ x 15″, acrylic, oil pigment stick and mixed media on paper, 2021

While some of us taught ourselves to bake sourdough bread or to mend socks during the pandemic, the American painter and arts writer Susan Hoffman Fishman plunged herself into her studio and emerged, a year later, with a revised creation story. The result: a magnificent, nearly 50-foot (15 meters) opus entitled In The Beginning There Was Only Water. Currently on exhibit at the Five Points Gallery in Torrington, Connecticut through December 19, 2021, In The Beginning There Was Only Water reframes the biblical creation myth – in which “man” was granted “dominion” over all the Earth’s plants and animals – into a new, non-human-centric story.

Continue reading “In the Beginning There Was Only Water”

The Art of Transforming Polluted Water into Clean Water, Energy, and Sound

A picture containing indoor, person

Description automatically generated
Gilberto Esparza at work on Nomadic Plants

Mexican visual artist Gilberto Esparza works with technology, including electronics, robotics, and biotechnology, to develop innovative solutions to the detrimental impact that humans have had on the natural world, particularly on water. His overall goal is to rethink and redo the current relationship between human society and the environment by establishing collaborations between the two. 

Continue reading “The Art of Transforming Polluted Water into Clean Water, Energy, and Sound”

What Is Your ‘Tipping Point’ for Collective Action?

A picture containing text

Description automatically generated

Scream (detail), 150 x 158 cm, mixed media drawing, 2020

I recently read the article “As the Climate Crisis Grows, a Movement Gathers to Make ‘Ecocide’ an International Crime Against Humanity” from Inside Climate News. The authors state that “international lawyers, environmentalists, and a growing number of world leaders say that ‘ecocide’ – widespread destruction of the environment – would serve as a ‘moral red line’ for the planet.” French President Emmanuel Macron and Pope Francis add that ecocide is an offense that poses a similar threat to humanity as genocide. And Pope Francis describes ecocide as “the massive contamination of air, land and water” or “any action capable of producing an ecological disaster.” The Pope has proposed making ecocide a sin for Catholics, endorsing a campaign by environmental activists and legal scholars to make it the fifth crime before the International Criminal Court in the Hague.

Continue reading “What Is Your ‘Tipping Point’ for Collective Action?”

An(other) Interview with Artist Katie Holten

A person sitting at a table

Description automatically generated with medium confidence

In this issue I have for you my second interview with artist Katie Holten. We first spoke back in 2019, when she created the NYC Tree Alphabet to draw greater attention to the threats that New York-area trees face. Now she’s created an alphabet for the trees of Ireland, her home country. In our interview below we discuss what inspired her latest alphabet, how she’s developed an accompanying tool for use in schools, and what to expect from Learning to be Better Lovers, her forthcoming exhibition about learning to love all creatures on the planet.

Continue reading “An(other) Interview with Artist Katie Holten”

Seeing Water

A picture containing text, swimming, ocean floor

Description automatically generated

Gulf of Main: Phytoplankton Breathing III, detail. Oil and phosphorescent pigments on canvas, 48” x 16,” 2017.

Krisanne Baker defines herself as a multi-disciplinary eco-artist, water activist, citizen scientist, and educator. In all of these disciplines, she has devoted herself to researching and revealing the condition and beauty of our rivers, streams, and oceans, and to advocating for their protection. 

Continue reading “Seeing Water”

On Water as Polluted Body, Place of Solace, and Life Force

A picture containing text, transport

Description automatically generated

sTo Len, detail of FOAM (FutureOfAMaterial) installation. Gomitaku print, sumi ink on linen, 64” x 360,” 2020.

Since June of 2017, artists Jarrod CluckGina R. FurnarisTo LenLeslie Sobel and Rachel Wojnar have been on an intense physical, emotional, spiritual, and art-making journey, which culminated with their MFA Thesis Exhibition, Confluence, on view at the Joseloff Gallery of the Hartford Art School, University of Hartford (Connecticut) from September 10-19, 2020. They are the third cohort to complete the Nomad Interdisciplinary MFA program. Founded by director Carol Padberg in 2015, the program uses an innovative field-based model and offers a curriculum that includes art, ecology, the study of place, indigenous knowledge systems, and technologies. Encompassing two hands-on residencies per year, the Nomad MFA provides courses in El Salvador; New York City; New Mexico; Mexico; Oakland, California; Miami; and Minneapolis.

Continue reading “On Water as Polluted Body, Place of Solace, and Life Force”

The Ocean Inside

Background pattern

Description automatically generated

Video still from The Ocean Inside projected on the Veil (2018-2019). Photo by Eveline Kolijn.

Dutch-Canadian printmaker Eveline Kolijn grew up in the Caribbean where she developed an enduring interest in natural history and the environment, as well as a love of the ocean. Having spent a great deal of her childhood scuba diving in the coral reefs, she originally thought of becoming a marine biologist before her life took her in another direction. 

Continue reading “The Ocean Inside”

Imagining Icebergs


Arctic Magnetism, photograph of Russell Glacier, Greenland. Printed on backlit film. Drawing by removal with scratch nibs, steel wool with water-based crayons, 106” x 44,” 2019.

Multi-media artist and educator Itty Neuhaus has spent a great deal of time observing and interpreting environmental changes in Newfoundland and Labrador, Canada, and in Iceland and Greenland. Since 2000, when she took her first trip to Iceland, her drawings, photographs, sculptures, and videos have addressed the degradation of glaciers and the nature of icebergs. 

Continue reading “Imagining Icebergs”

Woven and Waxed Water Stories


10° 20′ 32” N, 44” x 96” x 3”, detail. Salvaged fishing nets and lines collected from across the Pacific Ocean with deep-sea leader line, 2021 (in process) .

Hawai’i-based fiber artist Mary Babcock uses discarded fishing nets and lines as well as household wax paper to create tapestries and installations about sea level rise, “our proclivity towards destruction or entanglement,” and our perceptions of and relationship to water. The process of self-laminating wax paper for installations and of cleaning, sorting, and unravelling abandoned, tangled fishing nets and lines and then weaving them into something completely new, is the manifestation of her refusal to see anything as unworkable or unrepairable, including the climate crisis. 

Continue reading “Woven and Waxed Water Stories”