a82243a1568f4e588500d30b441c8a70

Lewis Andrews

Thu, 04 Dec 2025 18:11:13 GMT

united kingdom

‘Destruction of Our Pale Blue Dot’ focuses on the destruction we're causing to our oceans through activities at sea, such as oil drilling and pollution, whilst simultaneously touching upon the issue of our oceans being unable to absorb any more carbon dioxide from our atmosphere, decreasing the amount of time we have to reverse climate change.

The drawings are created over an elapsed period as ice blocks melt into the Indian ink to create the drawing. Echoing the notion of our planet losing its sea ice, we only have a short amount of time left to reverse this damage before it’s too late. With our activities across the planet increasing the harmful gases within our atmosphere, the oceans are no longer capable of absorbing any more carbon dioxide and are accelerating the effects of climate change. Our planet, once referred to by Carl Sagan as a ‘Pale Blue Dot’, is suffering and dying.

Website: www.lewisandrewsartwork.com

Lone Sorensen

Thu, 04 Dec 2025 14:39:38 GMT

united kingdom

Lone Sorensen is a painter and academic who explores in her art our democratic present and future and the role of truth within them. The current moment marks a turning point in which performances of masking and unmasking switch as populist and authoritarian leaders politicise the idea of democracy, remould its meaning, then blatantly drop it as an albatross, only to don it again as a protective plumage. Lately the mask is coming off, a development we should all fear.

Painting mainly in oil and often in impasto, Sorensen’s portraits of political leaders and influencers depict moments in our unfolding democratic history that document its fragile and crumbling state, with a particular focus on obstructions to addressing the climate crisis. Her paintings at times adopt an almost sculptural form as they engage with the visceral qualities of the flesh and its emotionalised and performative expressions of power.

Website: https://www.lone-sorensen.org/art

Jeffrey Rollins

Thu, 04 Dec 2025 14:23:24 GMT

Türkiye/USA

The works in this series are a selection from my on-going Book of Kings project. Inspired by the Shahnameh (The Book of Kings), an epic poem written by the Persian poet Ferdowsi in 1010, I reflect upon the Shahnameh’s stories of war, strife, dreadful chaos, and great beauty within the shape-shifting landscape of our world today. I mine the surfaces of contemporary society where words have lost meaning, making paintings on the backside of political campaign signs and cultural posters taken from city streets, in Europe, America, and the Middle East. Evoking pealing walls and flesh both visceral and disturbing, my paintings and artist books construct strata of densely layered signs and patterns embodied in the residue of present-day events.

Website: https://www.baykalrollins.com

Jie Huang

Thu, 04 Dec 2025 01:29:22 GMT

CHINA

My practice investigates how emotional norms, familial expectations, and social language operate as subtle disciplinary systems. Growing up within a culture where care often arrives in the same form as control, I became attentive to the quiet mechanisms through which affection, obedience, and emotional suppression are negotiated. My works examine these frictions—how love becomes regulation, how protection becomes enclosure, and how everyday expressions of concern can imprint themselves onto the body and psyche.

I work across installation, ceramics, and mixed media, using transparent surfaces, fragile structures, and domestic materials to recreate the emotional architectures that shape intimate relationships. Enclosures, boxes, repeated phrases, and symbolic objects often appear as metaphors for invisible boundaries—at once protective and restrictive. By externalising private emotional experiences into physical form, I seek to make visible the psychological landscapes that are typically hidden or normalised within family and social life.

My practice combines tactile making with critical reflection. I draw from psychology, social theory, and my own lived history to explore how individuals internalise expectations, and how emotional discipline becomes embedded in daily language. Through material layering and spatial tension, I aim to create spaces where viewers can recognise their own negotiations with care, obedience, resistance, and the desire for self-definition.

Ultimately, my work asks how emotional control circulates in ordinary life—and how art can open a space for observing, reframing, and potentially releasing these inherited structures.

Website: www.jsusya.com

Jennifer Peralta

Wed, 03 Dec 2025 15:39:46 GMT

Canada

The main focal configuration of this artwork can be delineated as a type of fishbowl curving in shape on the canvas in the form of a bowlike branch. It contains an abstracted steel structural mass inside concerting a tangible theoretical concept of the mechanical world. There is a visually determined statement between the two entities concerning these specific areas on the canvas - organic branches with leaves versus the engineered manmade abstracted steel beams. As the organic bordering outer shape with leaves is an assertion of how nature has triumphed and evolved through millennia. In solution ecology will naturally grow and an answer will flourish to the contrived manmade nature of sprawling construction. Our reality is built on what we have created in human invention. As nature fights back and compensates for any challenge.

Website: https://jeniperalta.wordpress.com

Instagram: jeni.peralta.3954

Alastair McDougall

Tue, 02 Dec 2025 17:34:13 GMT

My world, Your world

How can you judge me?

Your world is done.

Trees gone, cities choked.

Cars everywhere.

Foul rivers flood.

Now you shout about

Di-vers-ity. Ecol-ogy.

Except you shout at me.

We find gold in our ground

There’s nothing left in yours.

You call our situation Ex-ploit-ation,

You want to save our trees?

My people need food.

Not your plastic.

United Kingdom

Not My Problem

Sun rises, sun sets.

Life goes on, and on

Its not my problem.

Oh no.

Houses fall into the sea,

Houses fill with mud from the flood.

Summer was hotter than ever before.

Too hot to lie on the beach.

Fires rage, dreams up in smoke.

Sun rises, sun sets.

Why is this not my problem?

Oh, and the sea is full of plastic.

The tides carry it far away, so that’s OK.

Then there are people.

People people people.

People everywhere.

Some with guns.

Some with bombs.

Some with nothing to eat.

Or drink.

That’s OK as long as they don’t come here.

Oh no.

Sun rises, sun sets.

The world burns, people starve.

Far away.

So that’s OK.

Of course most art is purchased to provide uplift, to enhance, to give lasting pleasure, and I certainly strive to provide that elusive 'Feast for the Eye'. BUT - the world around us, that world we paint, is in crisis and Artists have the opportunity, or actually the OBLIGATION to use their work to raise awareness or even to stimulate change. I have realised that the impact of art is increased enormously when a painting is accompanied with words to hit viewers' senses, and that those words are strongest when structured like a poem.

Website: https://www.dolphinsunsetart.com

mattwala

Tue, 02 Dec 2025 17:23:37 GMT

United States

As a visual artist living in the United States, I've come to terms with what much of the world has already known: fascism, hatred, and bigotry exist, and they'll win if we remain afraid to speak out. Oligarchy seems to be winning, taking everyday people's worlds away and commodifying them. The two pieces I've submitted here were intended for use during protest marches or publication in pro-people magazines (though they never were published). This intention lends to their poster-like compositions and messaging.

'Black Blood' addresses the exploitation of oil cartels, while 'Sold Down the River' critiques how America has been covertly taken over by oligarchs, leaving the nation in distress – a situation conflated with the US’s long, troubled history of slavery.

Jane Fairhurst

Tue, 02 Dec 2025 17:16:04 GMT

United Kingdom

When Trump first came to power in 2017 I was horrified and felt helpless. What could I do to protect all that I love against this devastating turn of events?

I had recently been doing in depth research into amulets, talismans and fetishes and the magical ways that people protected themselves against evil, disease and warfare in the past and those that are still extant.

I developed a series of textile sculptures ‘Fetishes for Uncertain Times’ as a response to the devastating political events and predicted climate apocalypse. With all that happened in his first term I never imagined Trump would be re-elected and I don’t believe he really won.

We cannot let the evil side win or all is lost!

Social: @jane_fairhurst_art

Alison Vetters

Tue, 02 Dec 2025 17:08:04 GMT

Panopticon, Video

United KINGDOM

Free from what?, Video

My practice currently focuses on moving images as a powerful tool for political exploration. Drawing on the insights of writers like Mark Fisher, I delve into the psychic and structural effects of living in a late-capitalist and increasingly devastated reality—where economic pressure, cultural repetition, and uncertain futures shape our inner lives and social environments. Central to this exploration is a deep interrogation of systemic control: the subtle and overt mechanisms through which capitalist structures manage behaviour, limit imagination, and manufacture consent.

My work is explicitly anti-capitalist, serving not merely as a stance but as a lens to reveal the contradictions and constraints that permeate our everyday experiences, all while signalling the potential for meaningful political resistance. Through a blend of found footage, personal recordings, text, and animation, I create layered visual environments that blur the lines between documentary, critique, and poetic disruption. I am motivated by the desire to expose cognitive dissonance—the tension between what we know and what we are conditioned to accept through hegemony. By interrupting familiar narratives and destabilising passive viewing, I aim to illuminate the often-hidden forces that shape our lives, work, care, and visions for the future—forces that thrive on being overlooked to maintain their influence.

My installations and moving-image work seek to spark moments of recognition—cracks in the façade of normality where the grip of the system loosens and the possibility of resistance shines through. In a culture that often claims there is no alternative, my practice works tirelessly to create a space for questioning, unsettling, and envisioning something beyond the prevailing logics and constraints. In doing so, it gestures toward the urgency—and the potential—for collective political empowerment and fight back!.

Website: https://www.youtube.com/channel/UCKosp1R_8L6XPc457jKG9tA

Social: @alisonvetters

Linda Lewis

Tue, 02 Dec 2025 16:57:38 GMT

United States

A social democratic platform advocates for a democratically controlled economy that benefits the majority, emphasizing social ownership, strong social safety nets, and reduced economic inequality through government intervention. Key policies include Medicare for All or universal healthcare, college for all, and programs to support working-class communities, strengthen unions, and address climate change. This approach seeks to reform capitalism rather than abolish it, focusing on balancing economic efficiency with social justice and equality.

Website: http://www.lindalewis.net

Sarah Soward

Fri, 28 Nov 2025 16:04:18 GMT

United States

I am not a compliant person. I speak up. I step forward. I exist in chaos abated only by my own plans within plans surrounded by plans. Sometimes, I let the chaos win and things like this happen.

Enjoy the inside of my mind, without my usual guardrails.

This is what it looks like when corvids roar.

Website: www.sarahsoward.com

Marion Dutheil

Fri, 28 Nov 2025 15:56:25 GMT

Canada

Through art, I can testify to injustices and raise awareness in a powerful way. By transforming the violence and ugliness of marine pollution into aesthetic and impactful imagery, I honor oceanic biodiversity and highlight this harsh reality. The impact of pollution on these ecosystems is a brutal truth, and through my photography, I convey this suffering and distress.

Social: https://www.instagram.com/mariondutheilphotography/

Jacqui Kipfer

Fri, 28 Nov 2025 15:46:52 GMT

Canada

As a New Zealander and Canadian, I am keenly aware of the impact of climate change on the planet's delicate bird life. "Watching Birds" showing our birds in the unusual front-on perspective, with the triad of climate change impacts looming darkly behind, almost unseen, stresses that the impact goes far beyond humans. I encourage you to not be the frog in the pot of hot water, getting hotter. Don't succumb to complacency, jump out and take action, where you are, with what you have.

Website: https://www.jkipfer.com

Ian Bride

Fri, 28 Nov 2025 15:33:09 GMT

United Kingdom

I shudder, oft times despair, at the direction that so much of the dominant world is now travelling in - right-wing populist, nay neo-fascist, governments; a severe erosion of human rights, humanity and empathy in the face of extreme cruelty, even genocide; and a return to the patterns of environmentally destructive behaviours upon this our unique and precious planet.

The Leshy (2024). The Leshy is one of many names given to the pagan Slavic deity of the forest, a deity or spirit common to most cultures around the world. Leshy will punish those who disrespect or misuse its resources – hampering, frightening, injuring, kidnapping, and even killing the offenders. Here in ghostly form, he points at us, accusing humankind for our shamefully poor treatment of forests and their inhabitants. You are warned…. Approach and his eyes will burn, and he will chill you with his voice – though we can perhaps redeem ourselves slightly if we offer him votives detailing and pledging our good behaviours. Then the Leshy might show us some mercy; even treat us benevolently when we enter his domain… if we speak softly and tread lightly...

'She too'. is comprised of a set of images from a book of photos of Roman busts I inherited from my mother (who in some important ways was also a victim of men). These images, which are virtually all of busts of men, struck me as constituting a historical record of ‘the gaze’. Here ~51 male images are positioned around a single image of a woman. All but one have had their eyes removed, yet still maintain their gaze, a patriarchal, cultural, and psychological gaze that transcends the capacity of sight - as well as (largely) the capacity for insight. In so doing, the piece generates a powerful, to some - almost claustrophobically predatory, representation of a contiguous historical reference - to thereby remind us of the stubborn persistence of the ‘She too’ 'moment' - and its need for social justice and social change.

Website: ianbride.com

Jonny Kemp

Fri, 28 Nov 2025 15:20:12 GMT

United Kingdom

Money doesn't exist. Say something that has a point. Take time to escape.

Website: www.jonnykempart.co.uk

Social: @jonny_kemp_artist

Michael Wagner

Tue, 18 Nov 2025 17:09:59 GMT

Germany

Even though power-hunger and selfishness seem to be leading to hatred and division at the moment, in reality there is only one viable path to the future: the path of love, community, and willingness to share. Let us strive with all our might to realize this path.

Moji Musa

Tue, 18 Nov 2025 16:42:05 GMT

United Kingdom

Ode to Filistine (2025) is an acrylic painting in which I merge contemporary realism with symbolic narrative. I use a keffiyeh-draped chair as the setting for a still life featuring a watermelon and a cluster of olives—objects that carry deep cultural resonance for Palestinians. Each element serves as a quiet emblem of identity, endurance, and resistance, inviting viewers to reflect on how everyday forms can hold the weight of history and belonging. I rely on a meticulous technique and a restrained palette to create both stillness and tension, aiming to evoke dignity amidst struggle.

Al-Hubb (2024), meaning love in Arabic, explores emotion through layered abstraction. Using acrylic, I depict a multifaceted heart in varying shades of purple to express the many phases and dimensions of love. The gold-leaf detailing of the word al-hubb brings a sense of reverence, while the stark white background represents the purity and openness of this profound emotion.

Helen Birnbaum

Tue, 18 Nov 2025 16:32:03 GMT

United Kingdom

I approach society, and science, in a questioning way and the starting point of much of my work is contemporary society’s relationship with world changing events such as climate change. The aim of my work has always been to communicate these ideas in the most accessible, and even, humorous way possible. I strive to create exciting art that will always make you think. I explore different materials, whilst engaging viewers in a conversation about the ecological crises that face the world. I explore themes of consumer culture, environmental recklessness, and socio-political global conflict in ceramic and the plastic debris left on our beaches. I make compelling work that reveals plastic's wider implications for our environmental health, marine ecosystems and how both marine and human populations can survive.

The sculptures are in part made of the rubbish we discard and become symbols of the way we treat our precious environments. Through assemblage and hand building methods hand-building techniques I create the sculptures, and they often incorporate found materials such as rusty industrial metal pieces, coiled telephone wires and found objects. Aluminium, steel and copper waste found in local scrap yards and recycling centres in the North West is also used. Recycling old metal and plastic pieces always plays an important part in my artistic practice bringing to fruition my design ethos and also in echoing the ecological themes I champion. By using sustainable materials the intention is that people are reminded of these pressing environmental issues.

I create large scale installations consisting of many hand-built ceramic and metal pieces and Shed Salty Tears is my third large scale installation. I always hand build in the same way, starting off by wrapping thin sheets of clay around formers made from cardboard tubes and plastic pots. Once the clay is leather hard, and this basic shape has formed, I attach different pieces as needed to create the forms and often decorate the sculptures with found metal objects. I believe that the old metal objects, often rusty, add a quirkiness and character to the pieces that clay alone could not do. I glaze my work in a variety of ceramic stains and glazes some of which I apply sometimes even before the bisque firing stage. These levels of glaze and stain give a richness and depth to the sculptural surface. The surface texture complements the distinctive forms of all the sculptures I create.

The quirkiness and energy of Modernist design excites me and I aim to harness this dynamism whilst commenting on aspects of our own vastly altered world where the use of resources far outweighs our ability to dispose of them sustainably.

Websites: https://helenbirnbaumceramics.com https://helenbirnbaumportfolio.wordpress.com https://shedsaltytears.wordpress.com

Social: www.instagram.com/helenbirnbaumceramics

Gen Doy

Tue, 11 Nov 2025 16:53:03 GMT

United Kingdom

My work is research-based, aiming to bring the past into a productive confrontation with the present, exploring what a political art practice might entail. Works in the last few years include Cuts Piece, featuring Ms. Atropos, who cuts the thread of life (about Government Cuts); historical witch trials and their relationship to contemporary scapegoating of migrants; the late Medieval Dance of Death/Dance Macabre theme and its transposition to the present; a Scottish Sibyl who answers questions with obfuscating statements taken from comments by government and business spokespeople; drawings in the manner of 17th century emblems which relate to ongoing war, pestilence, famine and death, and works on animal/human inter-actions .

Recently I have been making work about Palestine and the human and environmental destruction there, ocean pollution and threats to marine life, and I am involved in a project called Seed _2065. For this I have done three large drawings - Seeds of destruction, Seeds of hope and Seeds of future in the past. These make reference to past and present wars and how seeds can be used as a symbol of rebirth but also exploited by big agribusinesses. I get lots of ideas for my work by reading current news reports and looking at the historical roots of present day conflicts and climate change. As well as developing my art practice I regularly attend protests and demonstrations.

Websites: https://www.gendoy.com https://soundcloud.com/guineveredoy

Social: @pepedoy

Alina Karmadanova

Mon, 03 Nov 2025 16:56:42 GMT

Canada

As a Russian artist, I want to speak clearly: I condemn the aggression against Ukraine. This war should never have happened. It brings only pain and death — to Ukrainians, to Russians, to everyone whose lives it touches.

Many people in my country have been manipulated by state propaganda for years, taught to see enemies where there are none. Fear has replaced empathy, and truth has been buried under slogans. Through my work, I want to speak against this — to remind us that no idea, no flag, no government can justify violence or the loss of human life.

It is time to stop being afraid of the truth.

Website: https://www.alinakarma.art/

Social: @alinkarmart

Matthew Morpheus

Mon, 03 Nov 2025 16:48:44 GMT

United Kingdom

I hear the echo of protests; I see the reflections of revolutions. And every pixel in the collage is the shadows of digital cities. My collages are a path that leads to new freedoms. And every line of the canvas is a struggle, this is a sound, this is an era of change.

I seek inspiration in the mundane and the extraordinary, in fleeting moments and eternal truths. The interplay of chaos and order, the tension between freedom and constraint – these paradoxes ignite my creativity. And perhaps, most profoundly, it is the human spirit – resilient, fragile, and infinitely complex – that fuels my artistic fire.

Matthew Morpheus is not merely my name; it is my manifesto. I morph reality, distilling it into fragments that resonate with the viewer's own memories. My collages are bridges between past and present, between nostalgia and possibility.

Website: https://mrmatthewmorpheus.crevado.com

J. Lee Bertram-French

Fri, 10 Oct 2025 15:56:31 GMT

Canada

Life under capitalism is hard. Hope is vital to surviving, but especially to thrive and change the world for the better. Capitalism is horror without end, but there will be an end to capitalism. The senile decay of capitalism polarizes society. While many swing to the right, the left welcomes far more. We have an opportunity to out organize the right and win. For fascism to systemically take hold, the working class must first fail to take and keep power during revolution. The workers and oppressed of the world will prevail in ending this system. For the first time in history, the largest mass of society will take and defend our power from fascists and capitalists alike. This is the hope that I am rooted in when life is hardest.

Social: https://www.instagram.com/j.lee.bertram.french/

Daniella Kelley

Thu, 09 Oct 2025 15:56:31 GMT

United States

Daniella Kelley is a political organizer and movement builder living in Washington, DC. With a background in social justice campaigning and a deep-rooted family history in art, Daniella is learning to blend activism and various artistic pursuits. She hopes to use her art to push the boundaries of what it means to be "doing enough" in times of fascism, and use whatever medium calls to her to imagine brighter futures.

Instagram: @fearlessarmchair

Donna Mindart

Wed, 08 Oct 2025 15:56:31 GMT

As Donna Mindart, my piece "Still We Struggle" is born from raw emotions of living in a world where hardship and division seem so inescapable. This Artwork is incredibly personal to me- it actually brought me to tears as I drew it- because it reflects the struggles we all face, from mental health battles to economic hardships to the relentless challenges that just seem to be everywhere. I feel strongly that so much of this made worse by the lack of compassion and the selfishness of political systems that don't prioritise people's well-being and I wanted to pour these feelings into this piece.

"Still We Struggle" is my way of saying that even though the world feels heavy and unjust, we can still acknowledge that struggle and push for a kinder world. I hope my art can be the voice to those feelings and a reminder that we're not alone in wanting a better, more compassionate world.

Website: www.missdonnamindart.com

United Kingdom

Benjamin Gibson

Mon, 06 Oct 2025 15:56:31 GMT

Canada

Trump is not New York's betrayal, but it's confession—the inevitable result of a city built on ambition, inequality, and the belief that anything can be bought, sold, or leveraged. Romanticized. Unforgiving. Unapologetic.

Website: www.benjamingibson.ca

O Yemi Tubi (MOYAT)

Fri, 26 Sep 2025 01:02:33 GMT

United Kingdom

I am a Nigerian-born, American-trained Artist residing in the United Kingdom. I am an artist with a unique personal style. Most of my recent paintings were influenced by the political and social upheaval of our world today and the works of Renaissance artists.

“A work of art which did not begin in emotion is not art”, so said Paul Cezanne; I was moved by emotion to do most of my political and socially influenced paintings “THE EAGLE HAS LANDED” addresses the American-led war on terror, while “KABIYESI OBA OBAMA (Unquestionable King Obama)” offers a satirical take on the complex relationship between President Barack Obama and Donald Trump. The exchange of missiles of words between President Donald Trump of America and Kim Jong Hu of North Korea provoked me to do the painting “THE CHICKENS’ FIGHT.” In solidarity with Christians beheaded by ISIS in Iraq and Syria, I created “THE BLEEDING ROSE” I also use my work to critique the exploitation of African nations, as seen in AFRICAN’T, HUNGER IN THE LAND OF PLENTY, and OIL: AFRICANS’ WEALTH AND WOE—paintings that reflect the paradox of Africa’s poverty amidst its vast natural wealth. My work, “THE FISHERS OF MEN,” is about the horror of refugees drowning in the Mediterranean Sea. I also used my painting “UKRAINE: THE UNFORTUNATE BRIDE” to speak about the American and Russian-influenced war in Ukraine. To advocate and promote positive change to the climate change I created “MESSAGE IN A BOTTLE” and “NURTURING OUR PLANET”

I desire my portrait paintings to be uniquely creative. I do not copy images from pictures. I create what the camera cannot create. I use portrait paintings to tell the stories about my subjects and often use my subjects’ professions to create their portraits as I did with the portrait of Professor Wole Soyinka, 1986 Nobel Prize Winner in Literature in painting “SOYINKA: An Africans’ Literary Icon”, I used artist materials to create my painting “PORTRAIT OF AN ARTIST” and I used the violin to make the face of my subject in the “THE VIOLINIST”

My works progress from political paintings to paintings of the facts of the life of people.

The overarching theme of my work is "The Facts of Life: Roses and Thorns." Life is roses and thorns; sometimes it emanates the sweet aroma of pleasantness, and sometimes it pricks and causes pain. I often use roses and thorns for portrait paintings of the facts of people's lives. I first employed Roses and Thorns in my political painting “THE BLEEDING ROSES” and has since then adopted this floral iconography style - Roses and Thorns as my unique signature style in some of my paintings like “DOMESTIC ABUSE” and “MY MOTHER, Her Majesty Platinum Jubilee: Her Rosy Reign” further explore this theme, using roses and thorns to portray the complexity of personal and collective experiences. Roses representing joy and achievement, thorns symbolizing struggle and hardship.

Website: https://o-yemi-tubi.pixels.com/

Social Media: https://www.facebook.com/yemi.arts

https://www.instagram.com/oyemit

https://www.twitter.com/OyemiartsOyemit

https://www.linkedin.com/in/olabamiji-yemi-tubi-b0ab9a15/

https://www.youtube.com/result?search_query=o.+yemi+tubi

Adam Strange

Wed, 10 Sep 2025 22:25:51 GMT

Canada

Adam Strange is a re-emerging Canadian artist who creates digital photomontage works at the intersection between analogue painting, collage and film techniques, with twenty-first century digital tools and resources to create contemporary artefacts. Adam’s approach to "art as a weapon" for social or political change, includes recontextualizing fragments of photos, sutured with the juxtaposition of internal realities, chance and accident, to reveal global expressions and reflections of humanity. Adam creates his art for your pleasure or desolation, seeking the essentia, reflecting the under-current and offering no respite from the illogics of the outside world.

Website: https://www.adamstrange.art

Social: not very much