The Future of Art is an interview series where I speak with artists on the topics of sustainability and climate change in relation to their artistic practices. The series aims to explore a range of viewpoints, not only those of artists working directly with these topics but also how it affects the practices of all artists, no matter their chosen themes or mediums. 

Our next artist is Katharina Forster. Katharina Forster is a German artist who studied at the Ruth Prowse School of Art in Cape Town, South Africa. Her work spans the fields of installation, sculpture and participative works. She now lives and works in Werder (Havel), just outside Berlin.

Have the topics of climate change and/or sustainability affected your artistic practice either directly or indirectly?

As a young artist from Serbia, I am constantly following the foreign artistic scenes, especially the ones originating from northern european countries. Bio art is my field in the fine art practices, which has developed significantly during the first and second decade in the 21^st century. Bio design, organic and sustainable art practices are now going viral, because of the environmental issues we face.

As I observe our circumstances and how art reflects our society, I have come to the conclusion that bio art will soon be the leading field in contemporary art practices. Soon we won't be able to ignore the nature we destroyed - our environment. Everybody will feel it in some way, but by then, it will be too late to act. 

Worldwide there are universities, residencies, workshops etc. whose concepts are based on building bridges and connecting bio-organic art and design with science and technology. There are people who are working very hard with good will and compassion to find new solutions. Sometimes we need to go back to the beginning to get a clear view of everything.

Do you think artists have a responsibility to respond to these issues? Why/Why not?

In social life, the artist's role has always been important. Social media has provided a platform for artists to develop themselves regardless of where they live. Now they have the opportunity to say something with their creations. Recently, there have been many social media artists who work only for aesthetics, which is also acceptable, but it should not be their main drive. Art has to seduce and educate people, not to be invisible and passed by.

For me, as an artist, I'm eager to create and share my creative perspective by accentuating the biggest global issue, which is our environment.

"The seed is not just a source of life. This is the very foundation of our being."

- Vandana Shiva, ecofeminist

Vandana Shiva has been a major influence on my creativity.

The Future of Art is an interview series where I speak with artists on the topics of sustainability and climate change in relation to their artistic practices. The series aims to explore a range of viewpoints, not only those of artists working directly with these topics but also how it affects the practices of all artists, no matter their chosen themes or mediums. 

Our first artist is Jeremy Knowles. Originally from the UK, Knowles lives and works in Berlin.

Jeremy has a ritual of walking and photographing in Berlin in the mornings. The images presented here have been captured in the last two years and reflect his interest in capturing the unnoticed aspects of Berlin life. The emphasis on colour and vibrancy in the morning light playfully awaken us to how much colour exists around us when we take the time to look.

Jeremy, tell us about your art. What do you create and why?

I’m a lens-based artist interested in the city and how we, as inhabitants, activate it. A tool I use regularly in Berlin, where I live, is to explore my neighborhood on foot without any purpose. This was a method of play suggested by The Situationists who, ultimately, aimed to subvert capitalism through their work in city planning in the 1960s and early 70s. We are often unaware of the subtle ways in which modern cities are designed for commerce. Most of the things we encounter daily have been structured to encourage us to spend our money. I think there’s a lot of tension in this topic and thus, for me, space for both reflection and comment.

How long have you been practicing as an artist?

I graduated from University in London in 2015 and have been living and working as an artist in Berlin ever since. I left London feeling low on energy and low on inspiration. I think cities can have this effect on us sometimes if we don’t sync with what that place has to offer. Other places can be nourishing and encourage growth. Berlin has a rhythm and conciseness that works better for me, personally.

Have the topics of climate change and/or sustainability affected your artistic practice either directly or indirectly?

The bulk of my artistic practice is driven by observations made along walks within Berlin. For whatever reason, I am naturally drawn towards trash and discarded items – the ‘things’ I find left out on the street from the previous day. I really enjoy the process of using my art to transform an object of little or no value into something ‘beautiful’. Within this understanding is, of course, the question of how we value objects and what we define as beautiful.

The objective of my artwork is not to point the finger or suggest a solution, but merely to direct a different focus on the issue of sustainability within our day-to-day lives. The placement of value for objects and items of utility is very personal – I see aesthetic value where other people might see nothing at all. These objects have a life of their own, and perhaps that’s all I’m saying in my artwork.

Was there a certain point in time that you became more aware or self-conscious of climate change and sustainability issues?

I moved to London aged 20 having lived in the countryside my entire life. This was a very transformative time for me where lots of new inspiration and issues came my way. Climate change was a significant topic of interest at the time for many of my peers, but although I was very aware of the issue I didn’t feel I had a new or different position to take. All of my ideas come from direct experiences in my life, and so it wasn’t until later that I had a feeling to comment on sustainability. In the end, we can only do our part to help, and that starts on an individual level by changing small tendencies before they become long-term habits.

Have you reduced your carbon footprint in your professional practice in any way over the last few years. If so, how?

I’m quite conscious, in my day-to-day life, of my overall usage and consumption. I don’t own a car, I try to minimize international flights, I avoid buying plastic when possible, I don’t eat meat, and when I can afford to I will buy bio (organic) produce. We all know this of course... but if everyone found ways to minimize consumption within their lives it would significantly reduce the effects of climate change. But I’m also coming from a position of real privilege, and for many people these changes simply aren’t possible.

My professional practice is also not too taxing on the environment, so far as I understand. I’m not one of those photographers who quickly replaces equipment in order to stay updated with the latest tech. I like to make good use of something before I pass it on, and I always buy second hand.

Do you think artists have a responsibility to respond to these issues? 

No, I don’t think artists have any responsibilities. Artists comment on a multitude of issues, which is all well and good, but they have no more responsibility to respond to climate change than anyone else. We all play a part in the solution/problem.

Where can people find more of your work?

Website: www.jeremyknowles.co.uk

Instagram: @jeremyphilipknowles