This paper’s objective is to analyze the effect of climate change on society and the resulting collaboration of the humanities and science. The topics considered are methods of teaching ecological art, the psychological impact of global warming, the personal impression on artists and their processes, the influence on medium choices, how artistic expression is advocating for a healthy biosphere, how visual imagery is encouraging activism, and concerns about the validity and agenda of the art. The relationship between art and science is greatly influenced by social issues. Climate change is a grave societal problem. As a result, there are record-increased high and low temperatures; ocean temperatures and sea levels are rising; there is more precipitation resulting in erratic hail and rain; glaciers are melting; wildfires are destroying the ecosystem. The most harmful ecological human activities are fossil fuels, deforestation, and agriculture. The environmental devastation could be rectified with behavior modification.

          For transformation to occur, the public needs to understand the calamity. Art is one way to communicate the environmental dilemma to the populace. “Artists provide representation to climate change, representation and intervention are similar, and artworks that convey eco-friendly behavior can be modeled.”[1] The collaboration of the humanities and science may be the catalyst needed for change. Artists are communicating the gravity of complex issues by advocating through comics, photography, paintings, illustrations, metal, sculpture, music, videos, land, digital media, etc. The visual, sound and theatrical approaches to address the crisis vary from propaganda pieces, disturbing imagery, and profound works to positive, euphoric pieces. The response to climate change art is often emotional. Because of the severity of the climate crisis, the art comes from the depth of the artist’s heart and reaches viewers at a place as deep.

          The reality is overwhelming and can lead to feelings of sadness and hopelessness; the resulting devastation can cause anxiety-related responses, depression, post-traumatic stress, and other mental health disorders. Scientists are trying to convey the direness of the circumstances without causing mass hysteria. “Dr. Julia Bentz addresses the psychological impact of fear-based education and the resulting eco-anxiety. Bentz suggests that the humanities use illustration as a platform for introducing climate change issues, using art to establish a dialogue to explore social, political, economic, and eco-content, and using art as a means of transformation.  Bentz believes bringing the topic to the classroom through interactive projects has the potential to initiate change at the core of every student, that art’s contributions are underutilized, and that art can make a difference by empowering youths with a voice to advocate for change through art.”[2]

          Activists play an essential role in communicating Earth’s plight. “Professor Brian Cozen states that by breaking down artistic ecosystem communique with visual rhetoric using metaphors and up/down spatial relationships, a clear right and wrong or a binary view of complicated issues is provided. Inclusive art allows the viewer to see themselves as activists. Artists are not just activists; they are motivating others to become activists.”[3] Despite negative art’s psychological implications, propaganda pieces are necessary to clearly define the predicament and what must change. Human nature is to ignore problems, that is why it is so important to create artworks that are in your face, so people cannot deny or ignore the crisis. Negative art gets people thinking and that results in dialogue that could lead to transformation. 

          My Ecological Portfolio consists primarily of propaganda artwork. The message is distinct. Save a Tree, Save the Planet depicts two possible futures. Hope is a painting of a windmill. Mother Nature’s Revenge for her Rape shows Mother Nature blowing Covid-19 on the world as a form of justice for all the damage done to Earth by mankind. Stop Killing Us expresses the destruction of habitats in the arctic. The Corona Story is a 6-frieze illustration based on a poem with images pertaining to the abused planet, man’s encroachment on wildlife leading to the release of the virus, a sick planet, isolation, and a healthier planet because of man’s brief inactivity. The graphic art for Smuther is based on a bizarre story of humanity’s enslavement after rendering the environment uninhabitable. In the year 3030 humans are forced to live like pet cats in smart dome homes at the bottom of the ocean because the species cannot be trusted to make healthy choices.  

          Most artists need to feel their compositions; the well-being of the planet incites emotive energy that is inspiring countless eco-activists. “Peter Kennard produced a photomontage of Earth attached to a gas pump choking on oil. Antony Gormley sculptured metal art of a snowman melting, David Buckland’s Water Mist Wall is a 14-minute looped video showing sheets of ice horizons with chunks of ice falling into the sea to dramatic music, Kayle Brandon converted a diesel van to run on vegetable oil.”[4] After researching these pieces, hundreds of examples were found created by these artists. Kennard’s many photomontages depict oil spills, pollution, nuclear power, and rising sea levels. Antony Gormley’s Connection is one of many sculptures that represent the toxic relationship between man and Earth. Activist artist David Buckland has created countless lens-based works. Buckland projects text and images of melting icebergs breaking apart and falling into the ocean. Love of Earth is the foundation for activism.

          There are many different approaches taken by artist-activist. “Land artist Lauren Bon’s project Bending the River Back into the City filters diverted water from the Los Angeles River for irrigation in Los Angeles State Historic Park and the future Albion River Park. Elsa Munoz’s oil painting series Controlled Burn depicts raging forest fires. Musician John Luther Adams created a chilling soundscape Become Ocean. Italian pianist and composer Ludovico Einaudi developed Elegy for the Arctic.[5] Talented artists are putting their heart and soul into activism. It is hard not to cry while watching and listening to Ludovico Einaudi’s 2016 concert Elegy for the Arctic; the breathtaking imagery and sound’s message capture your very soul.

          “Artist Enrique Martinez Celaya identifies with the planet on a spiritual level, motivating his process by considering his relationship to nature. Artist professor John Sabraw uses vibrant pigments made with toxic runoff from the Ohio River to create paintings that resemble aerial photos of the river. Photographer Zaira Forman creates exquisite soft pastel art from photographs of ocean landscapes to convey the splendor and fragility of melting ice. Camille Seaman’s photographs of destabilizing regions of the Arctic and Antarctica express the frailty of nature. Argentine artist Pedro Marzaroti’s land installation work Where the Tides Ebb and Flow presents a series of bright blue sculptured heads of a human male projecting from a pool of water in an arcing sequence descending until ultimately drowning; this piece was shown during the Paris accord in 2015.”[6] Where the Tide Ebb and Flow is profound. The imagery sends chills down your spine.

          Psychologists are evaluating the processing of visual imagery. “Metaphors, analogies or narratives provide the viewer personal experience with abstract concepts. The brain perceives climate art from a part of the brain resistant to typical climate communications, the part of the brain that leads to inspiration. Researchers believe visual imagery may have the potential to unlock creative solutions.”[7] Artist, teacher, and independent scholar Christopher Volpe poses the question “Could creativity, as common ground between art, science, and spirituality, help us to re-vision how we inhabit the Earth and to ascend to a further level of evolution as a species?”[8] There is so much that we do not fully understand about the brain. It is possible that by using sound and visual imagery, intellectual stimulation could lead to innovative solutions.

          Objectively speaking, it is difficult to quantify the potential of the brain through imagery. That seems irrelevant because the benefits or exploring this area of research far outweigh not considering the possibilities. Epistemologists will always question the validity and the agenda of the art. Their concerns are valid. Most scientists agree that climate change is a real threat. This planet is facing a bleak future. “Saving the planet is a much bigger concern than any of the questions the epistemologist poses.”[9] Artists are doing whatever they can to convey the sad truth. Most are not getting rich by producing climate change art. The only benefit is that maybe they will be able to inspire others to become activists. Perhaps their works will lead to change or dialogue about change. As an artist, I know that I am addressing issues that many people do not want to think about. Climate change is humanity’s fault, and it is our responsibility to address it.