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Sustainable Creatives at OCAD U: In conversation with Deanna Gene

Deanna Gene, an OCAD U alumna in Sculpture/Installation and a participant in GradEx, explores sustainability through her project "Self-Inventory." In this interview, she discusses her perspective on sustainability, the use of recycled and natural materials, and the importance of community engagement in addressing plastic waste and environmental justice. Her work emphasizes the balance between human needs and environmental health, advocating for inclusive practices that promote equity and awareness.

Your name, pronouns, and program of study at OCAD U.

Deanna Gene (She/Her) Sculpture/Installation

You self-identified your project for the Global Centre for Climate Change (GCCA). How do you personally define sustainability within the context of your work, especially considering your focus on plastic waste and environmental justice? How do you relate this to broader global and political spheres and the role for a global sustainability framework such as the United Nations Sustainable Development Goals (UNSDGs) which highlights the intersections of socio-economic and ecological systems?

On a personal level I believe sustainability is a balance between human needs and the environment. By reducing consumption and eliminating waste, our productive result is efficiency. We can all live and understand by its definition that sustainability means meeting current needs without compromising the ability of future generations to meet their own needs. It focuses on environmental health, social equity, and economic vitality. It also means accessibility. Amidst greenwashing and sustainability guilt, many people feel discouraged from engaging with sustainable practices. They need to embrace their own definition and find balance. For me, it’s not about completely avoiding plastic or exclusively shopping at refill stores. It's about making the best use of what you already have.

Community engagement is also crucial for sustainability to ensure equal access to a clean environment and address disparities in waste management and health outcomes. My project, Self-inventory aligns with global efforts to combat plastic pollution, collaborating internationally, and advocating for stronger waste management regulations. The goal is to educate others on the correlation between sustainability and marginalized communities. To not have to think about sustainability is to come from a place of privilege and frankly, ignorance. I aim to help educate and promote sustainable practices that benefit both people and the planet, and to encourage the creation green jobs and sustainable businesses. An intersectional approach would contribute to global sustainability and equity.

Could you describe the techniques and materials you use to improve environmental impact in your work, particularly in relation to the excess of plastic and recyclable materials, we all create. It also addresses the intersection between people of colour and environment injustice?

To improve the environmental impact of my work, I utilize a cordage process that involves twisting fibres together to create ropes. In my project, "Self-Inventory," I incorporated not only traditional fibres but also items like plastic bags and fabric scraps. This approach addresses the excess plastic and often discarded materials prevalent in our lives.

Soft plastics are a significant component of the cords I make because of how abundant it is in our daily lives. This reality influenced my choice of materials for the cords in my project. Growing up in an Asian household, I was taught to use every part of something, a practice that contrasts with the Western tendency to prioritize appearance over utility.

Environmental injustice is a significant concern, particularly for marginalized communities that bear the brunt of hazardous waste, resource extraction, and other harmful land uses without benefiting from them. The common practice of North America shipping its waste to other countries only worsens this issue. Toronto's recycling system is inadequate, with many people unaware of how little actually gets recycled. Worse, many people don't bother to recycle or do so incorrectly. As an artist, I strive to create without contributing to this cycle of waste and harm.

What significant challenges did you encounter to create work that considers sustainability in materials, especially considering the themes you explored? How did you address this?

When working with recycled or natural materials, I faced significant challenges due to the lack of convenience and control these materials offer compared to toxic materials. Sourcing plastic and other non-sustainable materials was straightforward because they are readily available in everyday life. However, using natural materials posed more difficulties. I had to meticulously plan to ensure I had enough foraged fibres before winter. This required careful measures to avoid over-foraging from one area, preventing the spread of invasive plants, and minimizing disturbances to natural habitats. Once gathered, these materials needed thorough preparation.

Additionally, the inability to forage during winter presented a challenge. I addressed this by incorporating materials such as banana skins and lotus leaves, which are not only natural and sustainable but also culturally significant to me. These materials allowed me to integrate an essential element of my culture into my work…food.

By adopting these strategies, I successfully overcame the challenges of creating sustainable work, ensuring that my materials and methods aligned with the themes of environmental responsibility and cultural significance.

How do you envision the role of art and design evolving in promoting sustainability in the future, particularly within the contexts you address?

I envision art and design playing a crucial role in promoting sustainability by integrating traditional cultural practices and emphasizing the use of natural materials. Historically, many cultural art practices involved slow creation processes using materials sourced from the surrounding land, which inherently promoted sustainability.

In traditional art institutions such as galleries, theatres, and museums, there often exists an imbalance between cultural representation and sustainability. My hope is to see these institutions embrace and incorporate cultural art practices that emphasize sustainable methods. This could involve showcasing works that utilize materials like natural pigments instead of synthetic ones, or bio-plastics in place of vinyl. These practices not only reduce the environmental impact but also honour the traditional methods of creating art. By adopting such sustainable practices, art and design can lead by example, demonstrating how cultural heritage and environmental responsibility can coexist. This evolution will foster a deeper connection between people and the environment, encouraging a more sustainable future in the arts.

What advice would you offer to emerging artists and designers who are interested in adopting sustainable practices?

For emerging artists and designers looking to adopt sustainable practices, it's crucial to consider the entire lifecycle of your work. Ask yourself, “Where will this work go after the exhibition?” This perspective helps me guide more sustainable choices from the beginning, ensuring minimal environmental impact even after the display period ends.

Choosing materials thoughtfully is another key aspect. Reflect on what the materials inherently convey about your piece. Sustainable materials not only promote environmental consciousness but also add unique properties and histories to your work, enriching its meaning. The process of using these materials is often more rewarding and can be more economical, as sourcing local or repurposed materials can significantly reduce costs.

Embracing sustainable practices involves reflecting on the broader impact of your work. Your choices contribute to a larger movement toward environmental stewardship and cultural preservation, inspiring others in the art and design community. Don’t hesitate to experiment with unconventional materials and techniques. Sustainable practices often push you to think creatively, leading to unique and innovative work that stands out.

Thank you, Deanna, for sharing your insights on sustainability and inspiring us to rethink our approach to art and materials! You can explore more of Deanna's work on her Instagram @dgene.art

Learn more about sustainability at OCAD U: www.ocadu.ca/sustainability

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Sustainable Creatives at OCAD U: In conversation with Ievgeniia Cherednikova

Ievgeniia Cherednikova, an OCAD U alumna in Drawing and Painting who showcased her work in GradEx, explores sustainability through personal, nature-inspired experiences in her art. In this interview, she discusses her use of natural and recycled materials, her approach to sustainability, and the role of human connection with nature in her creative process.

Your name, pronouns, and program of study at OCAD U.

Ievgeniia Cherednikova, she/her, alumni of Drawing and Painting

You self-identified your project for the Global Centre for Climate Change (GCCA). How do you personally define sustainability within the context of your work, especially considering your focus on plastic waste and environmental justice? How do you relate this to broader global and political spheres and the role for a global sustainability framework such as the United Nations Sustainable Development Goals (UNSDGs) which highlights the intersections of socio-economic and ecological systems?

I am making paintings (as I call them) to express my personal experiences, this time in nature. My primary purpose was simply to narrate a human experience where a person, for instance, can sit next to a tree on the soil and grass and feel grounded. Yes, Sustainability, for me, can start from a human experience. I don't identify myself with the goals of the UN, nor do I relate to them during my work. Yes, these are reasonable goals to have in front of you, yet their execution is in process; it starts from a human experience. The goals I might connect to in this work would be the joy and gratitude of the population towards soil and Earth. Yet, I acknowledge that some of them may adjacently connect to the work: responsible consumption and production, climate change, and life on land.

Could you describe the techniques and materials you use to improve environmental impact in your work, particularly in relation to climate change, rising water levels, and the textile industry?

In the second part of the body of work, I attempted to use more natural materials and recycle my work from previous purposes. These materials were mainly wool and wool yarn, burlap, soil, moss, and copper wire. Yet, I did use mesh even though it is plastic. For the first work, I used mainly wool for the bottom floor piece; everything else was mesh.

What significant challenges did you encounter to create work that considers sustainability in materials, especially considering the themes you explored? How did you address this?

 I mainly attempted to use natural materials for the piece. This idea has gradually evolved into more recyclable materials, recycling my previous work. All natural materials were an additional cost; thus, ending up doing the second piece from mostly recycled materials was a solution.

How do you envision the role of art and design evolving in promoting sustainability in the future, particularly within the contexts you address?

For me, it is about a human experience. If you experience love or pleasantness and really see plants, sky, soil, and your surroundings, even your friends, as living beings, you become more perceptive. Even spending some days outdoors before you make something might be beneficial.

What advice would you offer to emerging artists and designers who are interested in adopting sustainable practices?

Try them yourself, try all the options, something might work. Don't take my word for it.

Thank you, Ievgeniia, for sharing your insights on sustainability and inspiring us to rethink our approach to art and materials! You can explore more of Ievgeniia's work on her website and follow her on Instagram @ievgeniia_cherednikova_art

Learn more about sustainability at OCAD U: www.ocadu.ca/sustainability

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Sustainable Creatives at OCAD U: In conversation with Lou Rose

Lou Rose, an OCAD U alumna and featured artist in GradEx, focuses on sustainability and environmental justice in her work. Through creative reuse of materials, she addresses plastic waste and explores the life cycles of objects. In this interview, she discusses her approach to sustainable art and design..

Can you please share your name and the program you were enrolled in at OCAD university?

 My actual name is Lily Davis, but I do go by Lou and my pronouns are she/her. And I was in integrated Media.

You self-identified your project for the Global Centre for Climate Change (GCCA). How do you personally define sustainability within the context of your work, especially considering your focus on plastic waste and environmental justice? How do you relate this to broader global and political sphere and the role for a global sustainability framework such as the United Nations Sustainable Development Goals (UNSDGs) which highlights the intersections of socio-economic and ecological systems?

I think sustainability kind of goes hand in hand with my work, even though it wasn’t something I initially set out to focus on. I was naturally drawn to using found and used objects, appreciating the history and the search for materials. Over time, I realized that this process aligned with sustainable practices, and it deepened my commitment to sustainability in my work.

As I became more aware of the importance of sustainability, I started making conscious decisions to reduce waste, not just because I enjoyed the process, but also to create a less wasteful practice. This has led me to think more critically about sustainability and its impact on my work.

While I'm still at the beginning of my journey in understanding broader global sustainability frameworks, such as the United Nations Sustainable Development Goals (SDGs), my thesis work has sparked a deeper interest in these areas. I recognize the importance of educating myself on different policies and practices happening globally and within my own community. My journey into sustainability is ongoing, and I’m committed to learning more and integrating these principles more consciously into my work.

Could you describe the techniques and materials you use to improve environmental impact in your work, particularly in relation to climate change and rising water levels?

In my work, I focus on using techniques and materials that minimize environmental impact. A significant aspect of my practice involves reusing and repurposing materials, especially textiles. For example, I often work with canvas from old paintings, which I repurpose in various ways. These canvases go through different lives—they might start as a painting, be used in a performance piece, and then be cut and sewn into new forms. Instead of discarding off-cuts, I save them and later sew them into new pieces, giving them a new life and reducing waste.

In addition to textiles, I also experiment with plastic materials. For instance, I collaborated with a company called Plastic Flux, which creates sheets of material from recycled plastic, like bottle caps and coffee cups. My intention was to use these sheets to create large, sculptural forms, but I realized that buying new plastic would be wasteful. Instead, I sought out scraps and off-cuts from the Plastics Department, aiming to repurpose these materials rather than contributing to more waste.

Although I didn’t have enough time to fully explore this approach in my thesis, the process was enlightening. It pushed me to think creatively about how to work with materials in a more sustainable way, and I discovered unexpected possibilities that have broadened my perspective on what materials can do in my practice.

What significant challenges did you encounter to create work that considers sustainability in materials, especially considering the themes you explored? How did you address this?

One of the significant challenges I faced in creating work that considers sustainability in materials was the limitation of resources. I often found myself hitting a wall because I didn’t have an abundance of materials to work with. This scarcity was frustrating and led to some difficult moments, but it also forced me to think creatively and problem-solve in new ways.

While it was challenging to work within these limitations, it ultimately made me more resilient and resourceful. Rather than taking the easy route of buying new materials, I had to make the most of what I had. This process, although difficult, was incredibly powerful because it pushed me to realize that you can create so much with whatever you find.

By embracing these challenges, I was able to transform frustration into creativity, finding new ways to work with limited materials. This experience has reinforced the importance of sustainability in my practice and shown me that powerful art can emerge from even the most modest resources.

How do you envision the role of art and design evolving in promoting sustainability in the future, particularly within the contexts you address?

I believe the role of art and design in promoting sustainability will continue to evolve, particularly in academic settings where creativity and resourcefulness are essential. For larger companies, the challenge lies in ensuring that sustainability is genuinely practiced rather than just used as a marketing term. In contrast, within the art world and educational institutions, there's a real opportunity to foster creative problem-solving and encourage the use of sustainable materials as part of the process. Even though I’m not perfect, I strive to make conscious, sustainable choices in my work. I hope institutions continue to promote these practices, offering more opportunities to reuse materials and explore new ideas.For me, inspiration comes from exploring unexpected places—thrift stores, discarded items, or old materials from my grandparent’s basement. I hope this approach continues to influence the way artists and designers think about sustainability in the future.

What advice would you offer to emerging artists and designers who are interested in adopting sustainable practices?

For emerging artists and designers interested in adopting sustainable practices, my advice would be to start small and focus on appreciating the materials you work with. You don’t have to overhaul everything at once, but there are many small steps you can take. For example, instead of buying new canvases, try sewing together smaller ones or repurposing old frames. There’s value in giving new life to materials that might otherwise be discarded.

Think of materials as living things with more to offer. Before you throw something away, ask yourself what else you can do with it. Old clothing can be cut up and stretched over a frame to create unique textures, or even food scraps and compost can inspire creative projects.

This approach not only promotes sustainability but also pushes you in new creative directions you might not have explored otherwise. It can be surprising and rewarding, opening up new possibilities in your work. Most importantly, have fun with it—sustainable practices can be an enjoyable and enriching part of your creative process.

Thank you, Lou, for sharing your insights on sustainability and inspiring us to rethink our approach to art and materials! You can explore more of Lou's work on her website and follow her on Instagram @lou_roses

Learn more about sustainability at OCAD U: www.ocadu.ca/sustainability

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Luz Paczka: How a Health Designer tackles the globe's 5th largest greenhouse gas emitter

OCAD U's Sustainability Committee Grad Student Rep tells us about what health design has to do with climate change, and what she's doing about it.

Your name and role at OCAD U?

My name is Luz Paczka and I am a second year Master’s student in the Design for Health program at OCAD U, and I am also a Sustainability Committee Grad Student Rep.

What does sustainability in health design mean?

It means to use sustainability as one of the main principles when (re)designing health systems, services, spaces, communication, and products. Furthermore, sustainability is connected to specific areas of healthcare such as health equity and inclusive design, and it can happen both at small and large scales.

Why is it important to you?

I am very passionate about this topic first all because I am an environmentalist. Second, it is because having grown surrounded by health professionals, and having become a health worker myself, I realized that although the healthcare industry looks for people’s health and wellbeing, it often does not engage in environmentally sustainable practices. In fact, global healthcare is the fifth largest contributor of greenhouse gas emissions in the world. The lack of environmentally sustainable healthcare contributes to a feedback loop in which the environmental impact of the health industry contributes to climate change, which in turn makes people sicker, therefore increasing the demand for health attention, which means increased carbon emissions, and so on. This discrepancy highlights the urgency to tackle this issue, so that healthcare cares for people beyond the hospital walls.  

You just completed a field placement with the Canadian Coalition for Green Health Care. Can you tell me about the work you did there?

It was a great experience! I got to work with the Coalition as well as PEACH Health Ontario throughout my placement. By collaborating with both organizations I got to interact with people across Canada who are working on different projects with the goal of making healthcare more environmentally sustainable. I had the chance to sit in meetings where I learned about the impact of PPE [Personal Protective Equipment] on the environment (especially after the COVID-19 pandemic) and existing alternatives, and ongoing projects that promote natural systems around health facilities. I was able to bring in my health design skills even more in the development of a guidebook that recommends specific action items that can make a health facility more environmentally sustainable. I had to come in as a health designer to work on the knowledge translation and visualization of the document, while thinking about its implementations, since it was directly targeted towards leaders and executives of health facilities.

I would also like to say that during my time there, I felt very motivated by every person I encountered. Although the work to be done in sustainability is considerable, I was constantly inspired by the perseverance and the passion of all the people collaborating with the Coalition.

What do you want other Design for Health students to know about applying their skills through a sustainability lens?

I would want them to know that even if bringing sustainability to the table can be challenging in some projects, you can always come in as a health designer and explain its relevance in the corresponding context. There are several skills that we acquire through the Design for Health program, such as working in transdisciplinary teams, creative problem-solving, and context analysis, all of which are crucial to bring to a project when applying a sustainability lens. It is also important to be a good observer and listener since there are other skills that might be useful according to the context of the project, such as certain systems tools, health policy writing, research methodologies, and more

Imagine healthcare systems 10 years from now. To you, what would be an amazing shift whether locally or globally to increase sustainability in healthcare systems?

I think one of the biggest things would be to have more patient-centred care in health facilities that are (re)designed with the community so that they are sensitive to the geography, culture, economy, and language of the area. In addition, I would hope for these places to have an ongoing sustainability plan. This would decrease their environmental impact through actions that involve local and organic food, reducing of food waste, promoting net-zero or carbon-efficient modes of transportation for patients and workers, retrofitting older buildings to be more energy-efficient, opting for reusable tools and equipment, as well as divesting funds from fossil fuels to low-carbon funds. In addition, I want to highlight the importance of developing resilient healthcare spaces and services that can adapt to the changes happening around the world due to climate change. This way, we will not have to spend more resources in changing spaces and services over and over.

I know these are big items, but my hope is that health systems and spaces adopt at least a few of these action items so that they kickstart the bigger shift.   

To learn more about the OCAD U Sustainability Committee and to join as a Student Rep, contact Victoria Ho, Sustainability Coordinator, Office of Diversity, Equity & Sustainability Initiatives at [email protected].

Check out our upcoming events at www.ocadu.ca/sustainability

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Sneak peek of a new product Marc Th. van der Voorn designed for Odesi. It is a family of products with beautiful details and a mix of materials. To be released in September!

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Got the bones written for a #New #Track within minutes thanks to @mixedinkeyofficial 's app #Odesi . This is my go to app for breaking through the toughest writers block. (at Canandaigua (town), New York)

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Just picked this up today from the #app store! This is a great tool for any musician! #MixedInKey #Odesi #OdesiChords #iPadPro #ipad #applestore