Through curated online exhibitions and artist talks BIOMASS creates volumes on contemporary artistic practices.



BIOMASS explores art through the lifecycle of materials and energy. Artists consider their practices in highly dimensional and personal ways. BIOMASS brings these realities and nuances to the fore through featured artworks and transcribed 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 relational 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 more charged and expanded terminology, a perspective of art and its making that acknowledges the burnout experienced by many artists in late-capitalism and the realities of artmaking in daily life.

In its current online platform BIOMASS hosts conversations with artists, questions activities which lead to burnout and highlights ideas that bouy sustainably creative lives and artworks, to delve deeper into the spirit of artistic practice.

BIOMASS is an independent project fueled by artists.






Intersectional ecology is a term coined by environmentalist 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 in her groundbreaking publication 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.





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