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Tate recognises the unique role art and art museums can play in creating fundamental societal change. As we work towards reducing °Õ²¹³Ù±ð’s carbon emissions to net zero by 2030, we dive deeper into the art and artists who spotlight the environment in their projects and photos.

Channel by Simryn Gill

From large cargo ships to plastic wrapped around branches, the photographs in Simryn Gill's series 'Channel' show evidence of sea pollution in Port Dickson, Malaysia — Gill’s hometown.

Colourful plastic bags and other rubbish have washed up with the tides, getting stuck in trees and roots, and hanging almost like clothes on a washing line. The contamination of the mangrove forest by plastic waste encourages us to think about humankind’s impact on the environment.

Air Pollution of Iran by Mahmoud Bakhshi Moakhar

To create Air Pollution of Iran (2004 -2006), Iranian artist Mahmoud Bakhshi Moakhar framed eight Iranian flags in faded colours, stained by the capital city’s polluted atmosphere. Referring to eight years of war against Iraq, it suggests a parallel between air pollution and violence, political assassins and the apparent concealed corruption of the regime.

The Eye in the Sky by Gauri Gill, Rajesh Vangad

The Eye in the Sky (2014–16) features a large-scale photograph taken in Maharashtra, western India, by Gauri Gill.  This is a collaborative work between Indian photographer Gill and indigenous artist Rajesh Vangad. Gill captured Vangad looking towards a mountain in his hometown, then Vangad added traditional iconography in black ink easily seen in the image. This is one photograph in a series that explores the impact of the industrial takeover of indigenous lands.

Six Sculptures by Bruce McLean

Over a year, sculptor Bruce McLean made these six sculptures, simply titled Six Sculptures (1967-8) from natural materials near his home in Barnes, South West London. The sculptures reflect McLean’s interest in time and how it flows away from us.

For example, in Floataway Sculpture, the water currents break up the sculpture and its fragments drift away in the water. All six sculptures are fleeting works – once finished McLean returned them to the environment, so these photographs are the only record of their existence.