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“I also find that many people just don’t pay attention,” she says.

Her illustrations depict the same kind of graphs you might find in a textbook (decline in glacier mass balance; ocean acidification; deforestation) overlaid with watercolor paintings of the affected natural wonders, bringing the research to life. Photographer Tre’ Packard, who founded Pangea Seed with his wife to promote environmental activism through art and education, applies the same concept to ocean conservation.

“If people see evidence of my hands in the work, they may relate more closely,” says Mattison.

“I don’t want it to be too literal, because the point is to spark curiosity.” virtual reality installation first appeared in Seattle Art Museum’s Olympic Sculpture Park and depicts a world overtaken by mutated versions of regional drought-resistant plants that feed on everything in sight—phones included.

“Humans only change when they see no other alternative in order to survive,” says Thiel.

Still, Forman’s message always leans toward hope and action.

As an engineer, Thiel felt compelled to include factual data, but as an artist she wanted to complete the picture and pick up where the science (which she notes is couched in conditionals) stops.

The series, now on view at Stanford University, is meant to entertain while stealthily urging viewers to do their part.

In some cases, he paints on natural surfaces like icebergs or forest trees, letting the figures rapidly melt or get washed away by natural forces to create a sense of urgency.

“The idea of my art not lasting adds another depth to the message and feels more real,” says Yoro.

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