Artists and Sustainability: Alana Lake

1. In what ways do you feel your work might relate to issues of climate change and sustainability, in the content of the work, its narrative, conceptually or theoretically?

 My work often picks up on undercurrents that run through culture and society, particularly, at the moment, cultures of fear and precarity that reflect the broader conditions of living within late capitalism. These dynamics reveal a strong connection between human behaviour, consumption, and environmental and ecological degradation. My Crash Culture series, for example, uses salvaged materials such as fragmented car parts and deployed airbags taken from crashed vehicles, which are reworked to explore themes of consumption and collapse in contemporary life. These reflections don’t seek obvious solutions, but create space for contemplation, highlighting where beauty and destruction coexist.

2. With regards to the materials, processes and techniques you use to produce your work, are there any practical decisions you make with regard to climate change and sustainability?

 My practice involves working with a range of materials, including hot glass, ceramics, and metal, processes that are, by nature, energy intensive. I’m conscious of this and, where possible, use recycled materials or incorporate found and salvaged components. It would be inaccurate to say this approach runs through all aspects of my practice, but I have a growing awareness of how materials circulate through systems of production and consumption. I try to reflect critically on those systems while remaining attentive to my own impact. That said, I think there’s increasing pressure for individuals to demonstrate sustainability, which can sometimes obscure where the greatest environmental impact actually lies. Meaningful change ultimately depends on accountability from larger corporations and industries whose practices have far greater effects on the environment and natural resources.

3. In general, how do you feel galleries, art spaces, artworks and artists might be able to contribute? What, if any, role do you feel they can play in a progressive conversation?

Artists and art spaces can play a vital role in creating conditions for reflection. In recent years, there has been a significant shift in attitudes: publicly funded institutions have been encouraged, and in some cases required, to respond to environmental concerns through the adoption of more sustainable practices. However, I’m less certain that this ethos filters through to the commercial sector. Many galleries and art fairs I’ve worked with remain incredibly wasteful. While they may platform important discussions and showcase works that address ecological and environmental crises, there is often a tension between these ideals and the profit-driven structures that sustain them. These concerns and tensions are channelled back into my practice, where art operates as a mirror to the contradictions inherent in the systems we build and inhabit. 

4. Are there any tips or advice, anything you have learnt you might want to share with other artists or our audiences?

Not everything we make as an artist is art. I think being able to distinguish what deserves to be called art is an important evolution in an artists journey. I must make a hundred + ‘artworks’ each year, but perhaps only a handful, in the end, are presented as art. I believe being conscious of this helps elevate your practice, pushing your own standards and decision making increasingly higher.

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