EduArt Club members recently had a great opportunity to learn from Isabella De Almeida, the founder of Earthy Art, about the concept of sustainable art and eco-friendly practices artists can adopt without compromising their creativity.
The Earthy Art platform curates sustainable art that changes minds, inspires action, and protects the environment and artist health. Karian Amaya, Kennedy Yanko and Olafur Eliasson are excellent examples of those who work according to ecological standards and address environmental issues.
Sustainability has become a central focus across various industries, but its significance in the realm of art often goes unnoticed. However, the impact of artistic practices on the environment cannot be understated. From the materials used to the disposal of waste, every step in the artistic process can contribute to either environmental degradation or conservation. The essence of sustainable art lies in conscious decision-making throughout the artistic journey. It encompasses the use of repurposed materials, non-toxic paint, and a mindful approach to the creative process. By prioritising sustainability, artists not only reduce their ecological footprint but also inspire others to adopt environmentally responsible practices.
One of the simplest yet most effective ways to promote sustainability in art, especially in sculpture and spatial design, is through upcycling and repurposing materials. From an old pair of jeans, a discarded basketball, to used household items, anything can become a starting point for artistic expression. Embracing this mindset not only minimises waste but also fuels creativity by challenging artists to envision possibilities beyond conventional materials.
A conscious approach to the artistic process involves making mindful choices at every stage. Simple changes, such as using rags instead of paper towels to clean brushes or reusing excess paint for background layers, can significantly reduce waste. Additionally, investing in paint cases that prevent paint from drying out enables artists to maximise their resources and minimise environmental impact. These small adjustments not only contribute to sustainability but also foster a deeper connection between artists and their craft.
In case the usage of recycled material isn’t possible and the artists decide to use a new material, they should consider not only its toxicity or non-toxicity (use of certified paints and materials), but also its degradability in the future (wood, natural fibres) and the very aspect of the production of the raw material - especially its CO2 footprint and environmental impact (environmental burden of metallurgical and glass materials production, chemical footprint in synthetic material production). Small changes to reduce waste, such as the use of rags instead of paper towels, can be adopted in the daily routine not only by artists in their studios.
From the collector’s point of view, it is advisable to consider the sustainability of the artwork production itself and other aspects that may contribute to increasing the negative ecological footprint, such as long-distance transport or the future restoration interventions.
In conclusion, despite the complexity of the issue, supporting the local scene and the arts in general is definitely a good ecological and socio-cultural choice. Sustainability is not just a trend - it is a necessity, even in the art world. By adopting sustainable practices and making informed decisions, not only artists but also collectors can reduce their impact on the environment.