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.
Tell us about your art. What do you create and why?
I create sculptures and installations from different, often found and used materials. The works I create are for exhibitions and public art events as well as for artlovers and collectors.
The topics evolve around the complex themes of human interactions with one another as well as their environment. I share experiences, thoughts and observations on the diversity of our world today through the choice of materials, the finished form and the way of making.
My inspiration is found through close observation of the people around me, current news in print and online media, as well as through travels and from being a parent.
How long have you been practicing as an artist?
For more than 10 years now.
Avalanche, 2017, (detail), found objects on textiles, 80x400x9cm
Integrity, 2012, teabags, razorwire, thread, each 400x80x80cm
How have the topics of climate change and/or sustainability affected your artistic practice either directly or indirectly?
Although this topic has not been my driving force as an artist, many of my sculptures relate indirectly to the topics of sustainability as I frequently use found or discarded materials.
There was also an article by Hanno Rauterberg which struck a cord when he stated that artists are polluting with all their unseen artworks*.
Rauterberg likes to make bold statements and this one definitely stuck with me and influenced my art-making directly.
Was there a certain point in time that you became more aware/self-conscious of climate change/sustainability issues?
I guess I have been brought up already aware of being a conscious consumer which definitely had a lasting effect on me.
When I lived abroad in the global south and had to change my euro-centric point of view, things also started to shift. At that time my partner studied economics and was interested in alternatives which broadened our understanding of what is possible.
Another aspect involved in doing one’s best to live a more sustainable life, is the step of becoming a parent. Apparently each baby wearing disposable diapers creates, on average, 3 tonnes of waste by the age of 3. It was definitely something we as parents had to think about in order to make an informed decision.
Liese Lotte, Diapers, thread.
Integrity, 2012, teabags, razorwire, thread.
Have you reduced your carbon footprint in your professional practice in any way over the last few years. If so, how?
In my art practice I am reluctant to buy things new if I can get them secondhand somewhere else. This is applicable in my private life too. There is a certain reluctance towards the thought of how many things are made and sold new. Is there really a need for all that?
Let's look at the teabags I work with: I could just go and buy them in bulk, soak and dry them but I prefer to ask people to keep their used teabags for me. When I started my first big sculpture (Integrity) I asked a nearby old-age home to collect their used teabags for me. In this way I received almost more teabags than I could use, which would have otherwise been thrown away.
Do you think artists have a responsibility to respond to these issues? Why/Why not?
No, I don't think artists have any more responsibility than anyone else. Climate change or sustainability issues are a matter for everybody who can make a difference. If artists make these issues part of their work, I hope it’s solely by their own choice. Some of those works are of striking significance. Personally, I don't mind if people think of those issues when looking at my work, even if my focus was different.
Mutuality, 2017, yellow plastic bags, metal, 200x120x120mm
Left to right - Flow: blue umbrella, artificial hair, found objects; Flow: red leather handbag, artificial hair, found objects, Flow: green watering can, artificial hair, found objects.
Is there anything else you would like to add on this topic?
I would like to suggest two further readings:
1. Factfulness: Ten Reasons We're Wrong About The World - And Why Things Are Better Than You Think, Hans & Ola Rosling, 2018
2. The website gapminder gives valuable statistic insights and tools about the economic and social development of the world.
Where can people find more of your work?
Website: Katharina Forster
Instagram: @kath_meandmyhands
Patreon: meandmyhands