I think engaging the public on issues of climate change should be done with a light touch, always maintaining a sense of hope. The climate movement can suffer from fatigue and burnout so the arts should strive to counteract that is some way. Lisa Jewell has called it ‘Enthralling and Addictive’ and Jenny Quintana (author of ‘The Missing Girl’) ‘A truly compelling story that captures exactly the complexity of friendship and motherhood and how everything we think we know can be challenged in one heartbreaking instant…’ Where one body of water is sinking beneath or riding over top of the surface layer of another body of water (somewhat similar in mechanics to subduction and/or uprisal of the earth plates at continental margins). These types of tidelines are often found where rivers enter the ocean.

No one cares for what they don’t know about and can’t see, so in understanding human nature, you can find a way to open them up to things that may not be local and in their orbit. I seek to present unique pieces of art that reach an audience, and promote conversations about how they can get involved now that they are thinking and talking about the issues. A long time ago, John Muir (1838 -1914), the Scottish-born American naturalist, and founder of the modern conservation movement observed “When one tugs at a single living thing in nature, one finds it attached to the rest of the world.”The same observations can be made about environmental pollution. By way of example, look at what we do in this country to all our rivers, where untreated sewage is dumped every day, despite laws and regulations.

When Ellie hears about a hit and run incident on the dark country road she’s just driven down, she becomes convinced she’s the culprit. Driven to seek out the victim, she unleashes a nightmare.

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Fresh from the launch of Corpus Maris I, commissioned for this year’s Sydney Biennale, and adopting a reduced footprint approach to making that is being supported locally by Messums Creative, Julia Lohmann fabricated a series of seaweed sculptures for the gallery in Wiltshire in March. A long-time champion of kelp as a material for reimagining living with our resources, Lohmann’s luminous structures suggest new propositions for sustainable creative practice. ‘Every species has an equal right to life on this planet. We can use the same human ingenuity that has led to the climate crisis we are facing now… to protect and regenerate the ecosystem that sustains us.’ Impact verification came to the forefront in April 2019 with the introduction of the Operating Principles for Impact Management (“OPIM” or the “Impact Principles”), led by the International Finance Corporation (“IFC”) and now featuring a growing group of more than 100 signatories dedicated to “establishing a common discipline around the management of investments for impact.” One of these Principles—Principle 9—specifically requires signatories to publicly disclose and independently verify their alignment with the Principles on a regular basis. Tideline is a specialist consultant for the impact investing industry providing expert, tailored and actionable advice to clients developing impact investment strategies, products and solutions. Learn more at www.Tideline.com. It also introduces the theme of mapping and representation, as well as an aspect of fishing off shore, which connects us to thinking of boundaries both physical and political, and the way these lines are drawn.

Thank you to our esteemed guest speakers, Di Fu, VP of Impact Investing at Temasek; Kristin Sadler, Manager of Platform & Impact at Quona Capital; Rekha Unnithan, CFA Unnithan, Global Head Impact Private Equity at Nuveen, a TIAA company; and Eszter Vitorino Fuleky, Lead Expert Sustainability Advisory at Van Lanschot Kempen, for sharing your valuable insights as we strive to move beyond table stakes. A tideline refers to where two currents in the ocean converge. Driftwood, floating seaweed, foam, and other floating debris may accumulate, forming sinuous lines called tidelines (although they generally have nothing to do with the tide). My other ‘Anthropocene Fossil’ pieces are fossilised vessels of the Petro-chemical industry; an oil barrel and a jerry can. There is a circularity to these works as the Hamstone used is a Jurassic limestone, and most of the crude oil processed by the petro-chemical industry is found trapped within Jurassic or cretaceous limestone. The things I focus on in my art practice are issues that society acting as a whole can change, and it is the emphasis on values and sustainability that runs through all my work. I make many pieces that advocate for an accelerated pace of change. I find it incredible that that these issues persist, even after all the campaigning work has been done and it is law. An example is the Equal Pay Act, law since 1970 and more than 50 years later, there is still a gender pay gap. Q. What is the inspiration behind your work in Tideline and how does sit within the context of your work?

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If nothing is done, half of the world’s sandy beaches could disappear by 2100 due to climate change-induced coastal erosion and rising seas. As global temperatures continue to rise, driven by heat trapping greenhouse gases, melting ice will raise sea levels, and extreme weather events are expected to become more frequent and intensify, battering vulnerable coastlines around the world. Dorothy Cross’s Jellyfish Lake was inspired by the artist’s research into pioneering marine biologist Maud Delap, who in 1902 became the first person to rear jellyfish (in an aquarium at her home in Valentia Island, County Kerry) and to observe their full lifecycle. Filmed in the lakes of Palau Micronesia (itself at the sharp end of sea level rise), the video shows hundreds of tiny, delicate jellyfish swimming around the head and shoulders of a woman, whose hair floats with them in the swilling water. Lulling and dreamlike, the film captures a moment of coexistence that brings to mind Rachel Carson’s observation, ‘It is a curious situation that the sea, from which life first arose, should now be threatened by the activities of one form of that life. But the sea, though changed in a sinister way, will continue to exist; the threat is rather to life itself.’ The challenge now is to channel the curiosity of scientists and creative thinkers towards devising new activities and modes of existence. In a small sand-island in the North Sea, a tiny figure filmed from a drone walks in ever decreasing circles around the tightening perimeter of the shore. As the tide comes in and eats away at the sliver of land, so it and the figure’s room for manoeuvre reduces and ultimately disappears, vanishing under the inevitable waves. Like other works in the show, Simon Faithfull’s Going Nowhere 1.5 brings humour and absurdity to bear on a situation which can seem hopeless and beyond our understanding.

As of this announcement, BlueMark’s verification clients include, among others: BlueOrchard Finance, Calvert Impact Capital, CDC Group, Closed Loop Partners, Community Investment Management (CIM), European Bank for Reconstruction Development (EBRD), KKR, LeapFrog Investments, LGT Venture Philanthropy, Nuveen, PG Impact Investments, PG LIFE, the Osiris Group, and UBS. Photographed during a 2015 visit to Iceland, the glaciers forming the basis for Wayne Binitie’s Liquid Paintings and Octet sculptures no longer exist. These works mark the beginning of a continuing collaboration with the British Antarctic Survey that saw Binitie’s work, Polar Zero, forming the centrepiece of an exhibition during the United Nations COP 26 Climate Conference last November. ‘The scale of the topic is so overwhelming and so complex that it can feel distant, even apocalyptic. People need something tangible to get hold of, that collapses that distance.’Child-lens Investing (CLI) is an approach to sustainable investing in which investors intentionally consider child-related factors to advance positive child outcomes while minimizing child harm. CLI weaves together best practices from the ESG and impact investing ecosystems to form a holistic approach to sustainable investing that honors the diverse conditions needed to facilitate a good childhood. Because childhood is a powerful engine of equity, prosperity, and possibility, CLI approaches benefit both children and everyone around them. Within the guide, Tideline explains why the impact investment label should be reserved for funds and strategies that combine high degrees of Intentionality, Contribution, and Measurement, although the framework recognizes that a larger universe of products can rightly claim to be “impact-focused.” The framework is designed to show how all sustainable investment strategies incorporate elements of Intentionality, Contribution, and Measurement, and how by analyzing the levels of each, investors are able to consistently and accurately differentiate between impact investing, thematic investing, and ESG-integrated investments. Intentionality – Explicitly targeting specific social or environmental outcomes, such as the UN’s Sustainable Development Goals (SDGs); When I was very young, I remember the hearing about acid rain, and the notion was profound and disturbing. I learned that the weather pattern of the world meant that air pollution from UK businesses destroyed vast areas of Scandinavian forests. Connecting the dots at the time has informed and shaped my views, and left me with a global perspective on matters that interest me.