Climate Art Web

Web d'art climatique

CAW exists to:

1) discuss and share artistic projects that address the combined crises we face;

2) offer visioning with regard to ecologically-sensitive and/or ecologically-inspired ways of both living and making art;

3) honour, acknowledge and learn from indigenous-led artistic practices that work in concert with the land;

4) share ecologically-oriented best practices from diverse cultures;

5) exchange ideas about facilitating art-making between and across geographical and cultural regions; and

6) share ideas about art-making with minimal/sustainable resource use and environmental impact.

WAC existe pour:

1) discuter et partager des projets artistiques qui répondent aux crises combinées auxquelles nous faisons face;

2) offrir une vision sur des manières écologiquement sensibles et/ou écologiquement inspirées de vivre et de faire de l’art ;

3) honorer, reconnaître et apprendre des pratiques artistiques dirigées par les autochtones qui fonctionnent de concert avec la terre ;

4) partager les meilleures pratiques écologiques de diverses cultures ;

5) échanger des idées au sujet de la facilitation de la création artistique à travers les régions géographiques et culturelles ; et

6) partager des idées sur la création de l’art incorporant les buts de réduire au maximum l’impact écologique et d’optimiser la quantité et la durabilité des ressources.



The Community Connectors act as the seed cultivators that help to grow the web. They reach out through their mycelial networks and bring others into the circle — connecting eco-art projects and artists across northern Turtle Island/Canada. Below are the Community Connectors who are tending the web:

Les connecteurs communautaires agissent comme les cultivateurs de graines qui aident à faire croître la toile. Ils tendent la main à travers leurs réseaux mycéliens et font entrer d’autres personnes dans le cercle – en reliant les projets d’art écologique et les artistes du nord de l’île de la Tortue et du Canada. Voici les connecteurs communautaires qui entretiennent la toile:

Mayumi Lashbrook is a Japanese Canadian settler in Tkaronto who seeks to expose, challenge, and rectify systems of oppression by creating innovative, introspective and inclusive dance theatre. She sees embodiment as at the crux of world making, providing alternatives to unconscious thought, consumerism and oppression. Her primary practices span performance, choreography, education and Artistic Direction. Mayumi is the Co-Artistic Director of Hamilton based Aeris Körper, a facilitator of Dreamwalker Dance’s Conscious Bodies methodology, and the Communications and Outreach Manager for the Canadian Dance Assembly. She has been mentored by Peggy Baker, Andrea Nann and Denise Fujiwara.

Nicole Schafenacker is a writer, performer and artist-researcher originally from amiskwaciwâskahikan/Edmonton. Her work explores body memory, feminist narratives, liminal spaces at the threshold of change, intimate geographies, and hopeful acts/relationships between humans and place. She has spent the last five years living, studying, and showing work in different subarctic locations including in northern BC and northern Norway. She is currently the artist in residence for the Yukon chapter of Canadian Parks and Wilderness Society (CPAWS). Nicole lives in Whitehorse on the traditional territory of the Kwanlin Dün First Nation and Ta’an Kwäch’än Council with a very sweet retired sled dog named Aliy.

Flora Aldridge is an artist and educator passionate about interdisciplinary approaches to climate justice. Flora hopes to deepen our connection to the natural more-than-human world through food exploration, art practice, and sustainable agriculture. Through her involvement in multiple community-lead projects and her work as a facilitator within educational programs, Flora aims to build food and art communities centred around climate justice. Flora is also a passionate cook who strongly believes in the role that food can play in building relationships between us and our environment. As an artist, Flora’s practice is centred around place-based care, fostering empathy, and developing a deeper intimacy with the natural world.

Jen Yakamovich is a drummer, researcher, and improviser currently living and working as a settler on Coast Salish territories of the Sḵwx̱wú7mesh (Squamish), Stó:lō and Səl̓ílwətaʔ/Selilwitulh (Tsleil-Waututh) and xʷməθkʷəy̓əm (Musqueam) Nations. Her work focuses on the relationship between sound, social ecologies, and complex embodiment. She received her Master’s in Environmental Studies from Dalhousie University in 2019. She performs under the moniker Troll Dolly.


Chantal Chagnon is a Cree / Métis Singer, Drummer, Artist, Storyteller, Actor, Educator, Workshop Facilitator, Social Justice Advocate and Activist with roots in Muskeg Lake Cree Nation, Saskatchewan. She shares Traditional Indigenous Songs, Stories, Culture, History, Arts, Indigenous Craftsmanship and Teachings. Chantal has presented in Classrooms from Preschool through University and Professional, Community, and Social Justice Events and Gatherings. Chantal aims to entertain, engage, enlighten, educate, and inspire everyone she meets.

Melanie Kloetzel (MFA, PhD) is a settler performance maker, scholar and educator based in Treaty 7 territory (Moh’kinsstis/Calgary). Director of the dance theatre company kloetzel&co., and co-director of the art intervention collective TRAction, Kloetzel’s research work spans stage, site and screen. Employing practice-as-research methodologies, Kloetzel develops events, workshops and encounters in theatre spaces, alternative venues, spaces of public assembly, and online environments. Kloetzel is Professor of Dance at the University of Calgary.

Kevin Jesuino is a Portuguese-Canadian queer multi-disciplinary artist, arts-for-social change facilitator, placemaking educator, somatics practitioner and Co-Director of TRAction based between Amiskwacîwâskahikan (Edmonton, Alberta) and Mohkinstis (Calgary, Alberta). His work is oftentimes collaborative, site-specific, participatory, and process-oriented. His practice explores relationality, the body and the transformative ability of the arts. He draws from research in queer performance, deep ecology and modes of being together in his solo performance work. His community-embedded projects engage participants in performative actions, discussions, creative interventions, activations and other forms of organizing. Kevin is particularly passionate about facilitating social action around climate change, the ecological crisis and food security.