Reviewing the pieces for “The World Canvas” before their shipment to the United Nations office in Thailand. Photo: Issa Barte.
Issa Barte handwrites the letter crafted by “The World Canvas” team for Dechen Tsering, Director at the United Nations Environment Programme’s Asia and the Pacific Office. Photo: Issa Barte
The artists’ message: they’re already inspired and motivated to mobilize, they just need help to do it. They called out the lack of action from governments, about four years after the Paris Agreement where nations promised to mitigate climate change. “[Governments] have done little but ease initial anxieties over the climate crisis. Today, at a time where the crisis looms over our heads and fogs over our futures, the anxiety has piled up and weighed us down. We need action, not their flowery words. We couldn’t just stay silent,” the artists said.“We cannot wait any longer for real change to begin. Our people are suffering the consequences of a crisis that we have nothing to do with. …We are at different levels of crisis here in the Asia/Pacific region. Some of our governments acknowledge the problem, some don’t. Our industries are changing, but moving too slowly too late. Governments are supposed to respond to the people, but too often they won’t — but they will respond to you, though. We implore you, as youth from across your continent, to take a stronger stance.”
“Our paintings describe the stories we face as the youth in our homes: watching the natural world collapse as our people suffer horrific consequences. We ask for your help as we stand behind the dream of a better world. We see the work being done by current activists, and say to all doing the work that we not only see you, but support you.”
The handwritten letter to Dechen Tsering, Director at the United Nations Environment Programme’s Asia and the Pacific Office. Photo: Issa Barte
Philippines
Painted on plywood is a child running away from a storm and into an uncertain future. Photo and art: Issa Barte
This is the reality of my people. If their lives aren’t taken away, they are left with lives that are battered again and again by the typhoons. The climate crisis is not an abstract concept here, it’s a reality we face every day and in every aspect of our lives. This is not a future problem, it’s a problem that is clear and happening now. In December, the Philippines experienced its 22nd tropical cyclone of 2020, exceeding the average of 20 a year.“As I listened, I couldn’t help but think about her unborn child — not yet in this world, yet already paying the price of this crisis they had no hand in aggravating.”
Painted on plywood is a body bag that lays on a deforested part of Northern Philippines, a tribute to the environmental defenders killed in the country who risk their lives in protecting our natural world. Photo and art: Issa Barte
Malaysia
The intrusion of modernity is haunting nature. Projection on the cloth is construction in Kuala Lumpur. Photo and art: Joy Yuzu
The intrusion of modernity leaving wildlife behind like a shadow. Projection on the leaf is the dusky leaf monkey in Ulu Muda, taken by Fariman S., courtesy of GreenSmiths. Photo and art: Shah Shukri
Who owns nature? Projection on the leaf is the water monitor lizard in Ulu Muda, taken by Fariman S., courtesy of GreenSmiths. Photo and art: Shah Shukri
The ghost of modernity in the forest. Photo and art: Joy Yuzu
India
Part 1 - Depicting the relationship that the indigenous communities share with their natural surroundings. Nature is not looked at as a commodity but rather, an intrinsic part of their being. The painting refers to the Dongria Khonds Indigenous community. Photo and art: Shivangi Pant
Part 2 - The idea of growth and development — which is now mostly driven by material and financial growth, capitalist markets, and commodification — has resulted in the conflict between man and nature. Photo and art: Shivangi Pant
Part 3 - Resistance. Photo and art: Shivangi Pant
New Zealand
Using real images of Aotearoa’s natural biodiversity as a base, the pictures have been stamped over with signs of industry — timber, concrete, plastic, and steel buildings. Hiding those intrusions — barely — are color drops from the original scenes of nature enhanced up to an abnormal and unreal level. Photo and art: Māia Berryman-Kamp
Australia
One of Australia's most beautiful and complex curios, the platypus. Photo and art: Guy Ritani