Through energetic exchange, BIOMASS creates exhibitions and dialogues on the volume of artistic practice.

BIOMASS looks at art through the lifecycle of material and energy. Artists consider their practices in highly dimensional ways, BIOMASS brings these realities and nuances to the fore through featured artworks and dialogues on practice.

In light of environmental degredation and the need for equitable social change, BIOMASS seeks to expand the conversation around artmaking to include engaged materials, bodies, skills and their intersectional ecologies.

The term biomass is used most often within the energy industry, typically to describe forms of burnable “waste” material used to create heat and electricity. The term’s origins are more overt, bio means life, mass means volume. From these two meanings we find a charged and expanded perspective of art and its making. In its current online platform BIOMASS transcribes conversations with artists, questions activities which burnout artists, and highlights ideas that bouy artistic sustainability, to delve deeper into the spirit of artistic practice.

BIOMASS is an independent project fueled by artists.

Intersectional ecology is a term coined by writer and activist Leah Thomas. She writes that this is an “inclusive version of environmentalism that advocates for both the protection of people and the planet.” The term expands on the three forms of Intersectionality outlined by Kimberlé Crenshaw (Mapping Margins, 1989).

Image: Radial longitudinal section (RLS) of Viburnum wood showing inter-vessel pits and scalariform perforation plates.

Comparative wood anatomy of Viburnum L. (Adoxaceae) and its taxonomic implication. Study by: Balkrishna Ghimire, Dong Chan Son, Beom Kyun Park, Seung-Hwan Oh.

BIOMASS

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volume 2

Natalie Purschwitz Andrew Lee Sol Hashemi

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Natalie Purschwitz
Andrew Lee
Sol Hashemi