Insights of an Eco Artist
Media Platform &
Creative Studio
Moral Fibres
Moral Fibres—a term evoking the essential threads of ethics and responsibility woven into the fabric of our world—serves as the guiding concept for this immersive virtual exhibition.
During their residency, James Keul, Jodie Anna Posen, Bronwen Gwillim, and Charlotte Mendel explored the intricate relationship between sustainability, technology, and societal bonds. Through painting, writing, weaving, drawing, and printmaking, these artists confront the complex implications of human actions on the environment.
Keul's monotypes reflect on the societal impacts of technological advancements, while Posen's repurposed waste art challenges our perception of "wastelands" and highlights the ecological value of discarded materials. Gwillim's collages, crafted from foraged materials and plastic waste, raise awareness about the long-term impact of plastic pollution on marine environments. Mendel channels her passion into storytelling, questioning how art can inspire change and urging collective action to protect the planet.
Moral Fibres invites us to contemplate the intricate connections between our daily lives, technological advancements, and the environment. Through their diverse mediums and perspectives, these artists encourage us to unravel the unsustainable practices of the present and re-weave a future grounded in ecological consciousness and social responsibility.
Curated, developed and designed by Joana Alarcão.
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Charlotte Mendel
Screenplay, 2025
Insights of an Eco-Artist sprung from the belief that art can inspire change. Joana Alarcao plays an important role by bringing together artists from all disciplines and walks of life, who share this belief in the potential of art. My name is Charlotte Mendel and I have published four books and won some prizes. Since moving to England from Canada two years ago, I have turned my hand to screenwriting.
So how can a story inspire change?
Some stories focus on the beauty of nature. Some on collective action.
But I’m angry.
Because the richest 1% is responsible for more carbon emissions than the poorest 66%. Because there’s people trashing the planet in order to line their pockets.
Because the quality of my children’s lives depend on our actions now.
Because I would murder for my children…
And so the story Moral Murderer was born.
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Bronwen Gwillim
2025 — Paintings
Bronwen Gwillim’s work explores the hyper-local, using materials found within a mile or so of her home on the South Pembrokeshire coast in west wales. This approach is inspired by the Welsh concept of Milltir Sgwâr - the sense of being embedded in your immediate environment, knowing it intimately and respecting all of its inhabitants.
Bronwen’s materials are both “natural” and human-made: repurposed cloth, locally foraged earth pigment, home made plant binders and, the material she is most known for…..plastic.
Using waste plastic which has been washed up on the beach fulfils her lust for bright colour while also supporting the efforts of local beach cleaners. Working with earth and plants connects her with the geology, flora and fauna of her locale. Led by these materials and their inherent materiality, her work flows between craft, painting, textiles, jewellery and sculpture.
James Keul
2025 — Monotypes
This series of monotypes is centered around technological advancements that, while making our lives easier, have also slowly unraveled the very fabric of society. Daily activities, like going to the market on a daily basis, prior to the invention of the refrigerator, or going out to see a film, before home-entertainment became the standard, historically forced us to know and respect our neighbors and others, on the periphery of friendship, who we no longer come into contact with through daily routines.
As an artist who has focussed most of my work on environmental issues for the past 25 years, I have continuously strived to create work that resonates with the viewing public and that, ideally, helps to encourage environmental protection and be an instrument of change. When I began doing paintings about air pollution and climate change, in the year 2000, my preferred method was that of Alarmism, whereby I felt that showing the scary, dystopian side effects of ignoring the climate crisis would awaken the public into action.....
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Jodie Anna Posen
Wasteland 2025
Wasteland is a term often attached to areas of land deemed to have no inherent value. This shallow labelling, which denies the ecological value of these lands, has led to their misuse by wealthy elites who twist the delicate ecosystems to their whims in order to capitalise from their destruction.
For the residency, I have explored the concept ‘wasteland’ through a collection of weave, textile sculpture, print, and drawing, using repurposed everyday waste to weave into the narrative. The use of packaging plastics, papers and foils are regular features in my work. I enjoy the challenge of reworking these materials into precious artworks which uncover the hidden value of the things we usually discard.