“It took seven days to create the world; it only took one to disrupt its balance,” says the tagline for an award-winning animation by a team of students in France. “Au 8ème Jour,” which translates to “On the 8th Day” in French, uses CG, or computer-generated animation techniques to create a three-dimensional world in a stop-motion style.

A multitude of vibrant animals and landscapes appear sewn from fabric in the film’s otherworldly realm, each tethered to a single piece of yarn that connects it to a kind of central energy force—a vibrant, tightly-wrapped skein in the sky. But when mysteriously dark tendrils of black fiber begin to leech into this idyllic world, families and herds must run for their lives.

What’s causing the change—and what the black threads eventually cause—seems beyond imagining. Yet the fantastical situation is not so distant from something familiar right here at home.

The United Nations now concedes that its Paris Climate Agreement goal—limiting global temperature rise, due to greenhouse gas emissions, to 1.5 degrees Celsius above “pre-industrial” levels—is not possible. The science-backed goal was established in 2015 to limit the harms of rising temperatures around the world. Though set in an imaginary world, “Au 8ème Jour” is a beautiful, stark, and poignant reminder of what’s at stake right here on Earth.

“Au 8ème Jour” was created by a team of 5th-year students at Piktura in Roubaix, France, a school focused on animation, illustration, and video game design. The work of Agathe Sénéchal, Flavie Carin, Elise Debruyne, Alicia Massez, and Théo Duhautois, the film has been selected for more than 250 awards. And it’s won 60, including Best Animated Short at both the Bend Film Festival and Santa Barbara International Film Festival last year.

See more from Piktura on Vimeo, and head to the end of this article to glimpse the meticulous behind-the-scenes digital process.

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From record-breaking droughts and catastrophic flash floods to contaminated pipelines and increasingly thirsty AI farms, water is at the nexus of the climate crisis. The life-giving liquid is both scarce and too abundant, causing half the global population to lack sustained access to fresh drinking water, while much of the world is subject to hotter, wetter weather that subsumes communities with extreme conditions.

For designer, author, and activist Julia Watson, pinpointing myriad approaches to these all-consuming problems is one of the most critical and urgent tasks today. Her new book Lo-TEK Water, published by Taschen, highlights various Indigenous technologies and aquatic systems that could be utilized in adapting to a climate-changed world.

There are the two-meter-deep canals of Xochimilco, Mexico, which delineate 55,000 square meters of raised fields called chinampas. While built by the Aztecs to clean the water and irrigate crops, this system actually originated with the Nahua people. Similar are the floating islands of Intha Myanmar, which weave together roots, leaves, sediment, and other materials to create hydroponic beds.

Although Watson is keen to draw on ancient practices that could be more widely utilized today, she also highlights more modern approaches, like Pakistan’s Yasmeen Lari, an architect who’s responsible for devising the world’s largest program for creating shelters and cookware that leave no carbon footprint.

At 558 pages, Lo—TEK Water positions “water as an intelligent force that can shape resilient cities and landscapes. Aquatic infrastructure is reframed—from extractive and industrial into regenerative and evolving—designed to sustain life for generations,” a statement says.

Watson is a key voice in the broader Lo—TEK movement, and this new book is a companion to her previous volume focused on sustainable technologies. Find your copy on Bookshop.

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An unassuming cacao tree in Indonesia has made a unique connection to a high-tech artwork in China. Thanks to ecological data artist Thijs Biersteker, “ORIGIN” is a sculpture — a “digital twin” — that reflects the sensors monitoring the growth and elemental experiences of the tropical tree through pulses of light.

“When it rains in Indonesia, you see the sap flow through the sculpture in real time,” the artist says. “When the air quality shifts, the flows respond. During a heatwave, the tree visibly struggles. This real-time installation reveals just how fragile the cacao supply chain has become.”

A majority of cacao, the primary ingredient in chocolate, is cultivated in places that are also the most vulnerable to the effects of the climate crisis. Extreme weather, habitat destruction, and other issues also mean that global food resiliency is increasingly threatened.

For Biersteker, data provides unique insights into changes on the ground, and through a recent collaboration with the Indonesian Coffee and Cocoa Research Institute (ICCRI), he devised a way to literally illuminate environmental impacts.

The artist collaborates with environmental scientists to explore the relationship between data and nature, harnessing science for communication and to show how every change affects biodiversity, food, and habitats. Hooking up sensors to a specimen at ICCRI’s research site in Java, Bierksteker created a translucent, sculptural mirror of the tree, which is currently installed at Zaishui Art Museum in the city of Rizhao, Shandong Province.

Another work, “WITHER,” in collaboration with UNICEF, comprises a tropical installation with flickering leaves representing rainforest loss. Each disappearing leaf symbolizes 128 square meters of deforestation, based on data from Amazon rainforest watch groups. And “ECONTINUUM,” a collaboration with Stefano Mancuso, invites us into a kind of “conversation” occurring between tree roots in a twinkling digital composition. The work nods to recent scientific discoveries that show how trees communicate with one another via their intricate subterranean systems to provide or request nutrients or warn others of dangers like disease or infestations.

For “ORIGIN,” the live cacao tree in Java transmits information, its digital copy animating with fluctuating light. “This mirrors the role of the institutions behind it: making the invisible visible and reconnecting people with the systems that feed them,” Biersteker says in a statement. “It is where data begins to speak to the imagination and where data-driven art becomes a new language for change.”

Explore more on Bierksteker’s website and Instagram. If you enjoy pieces that explore the intersection of data and nature, you’ll also like Marshmallow Laser Feast’s “Of the Oak” installation at Royal Botanic Gardens, Kew.

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Between 450 B.C.E. and 950 C.E., a particularly fertile soil known by researchers as terra preta, literally “black earth” in Portuguese, was cultivated by Indigenous farmers in the Amazon Basin. The soil was made with broken pottery, compost, bones, manure, and charcoal—which lends its characteristic dark shade—making it rich in nutrients and minerals.

The historic, fecund material becomes a symbolic nexus for the exhibition Black Earth Rising, now on view at Baltimore Museum of Art. Curated by journalist and writer Ekow Eshun, the show illuminates several links between the climate crisis, land, presence, colonization, diasporas, and social and environmental justice.

Accompanying the exhibition is a new anthology published by Thames & Hudson titled Black Earth Rising: Colonialism and Climate Change in Contemporary Art, which highlights works by more than 150 African diasporic, Latin American, and Native American contemporary artists.

The volume explores intersections between slavery and forced migration, the environmental consequences of colonialism, socio-political injustices experienced by urban Black and Brown communities, and the violent occupation of Native lands—all through the lens of learning from Indigenous knowledge systems and a wide range of cultural practices to consider more carefully how we view and interact with the natural world.

Black Earth Rising brings together striking works by some of the art world’s most prominent practitioners, from Cannupa Hanska Luger and Precious Okoyoman to Wangechi Mutu and Firelei Báez, among many others. Hanska Luger’s ongoing project, Future Ancestral Technologies, takes a multimedia approach to science fiction as a vehicle for collective thinking. Luger describes the project as a way to imagine “a post-capitalism, post-colonial future where humans restore their bonds with the earth and each other.”

Carrie Mae Weems’ photograph “A Distant View,” from The Louisiana Project, approaches the history of enslaved women in the South through the perspective of a muse—the artist herself—spectrally inhabiting a seemingly idyllic landscape. Reflecting on the relaxed atmosphere of the image, we’re confronted with the stark reality experienced by Black people who were forced to labor on plantations, these grand houses now symbolic of atrocious violence and inequities.

“Black Earth Rising presents a discourse on climate change that places the voices of people of color at the active center rather than on the passive periphery,” says a statement from the publisher.

Through a wide variety of paintings, photography, sculpture, installation, and interdisciplinary pieces, readers—and visitors to the exhibition—are invited to consider how the continuum of history influences the climate crisis today and how we can proceed toward a future that centers unity and deeper relationships with nature.

The Black Earth Rising exhibition continues through September 21. Find your copy of the anthology on Bookshop, and plan your visit to the show on the Baltimore Museum of Art’s website.

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Beginning in the Adirondack Mountains and flowing south into New York Harbor, the iconic Hudson River stretches 315 miles through scenic valleys and creative towns. It’s also a migration route for numerous species of fish, from sturgeon and bass to herring and eels, which head upstream every year to spawn. Contending with habitat destruction due to pollution and the effects of the climate crisis, the survival of these fish is increasingly imperiled. Fortunately, art and activism have a way of bringing these urgent issues to light while also bridging local communities.

Last weekend marked the inaugural Fish Migration Celebration organized by Riverkeeper, an outfit devoted to protecting and advocating for the health of the Hudson River watershed. Unmissable amid the festivities were a series of large-scale puppets by artist Greg Corbino, part of his ongoing sculpture-meets-performance series, Murmurations.

Corbino designed a larger-than-life gold sturgeon to adorn a sailing ship that led a flotilla from Chelsea Pier in New York City up to Croton-on-Hudson, home of Hudson River Music Festival. Corbino’s papier-mâché marine creatures, ranging from oysters and sturgeon to a seahorse and a whale, performed their own migration, parading along the riverbank in both locations.

The artist describes the collective performance as a “puppet poem of city and sea” and creates each work from plastic trash he removes from New York City waterways and beaches. Through partnerships with events like the Fish Migration Celebration and Lower Manhattan Cultural Council’s River to River Festival, he aims to highlight the impacts of climate change and raise awareness of increasing plastic pollution in our oceans.

See more of Corbino’s work on his site.

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For Japanese marine photographer Ryo Minemizu, some of the world’s tiniest creatures prove to be the most awe-inspiring. Capturing the vibrant hues and otherworldly features of plankton (previously), he scouts locations to do nighttime dives around Japan and other Pacific regions in search of never-before-seen specimens and behaviors.

“Although I only dive to depths of around 25 meters at most, each dive now presents an opportunity to encounter juvenile deep-sea fish and jellyfish in forms that most of humanity has never seen before,” Minemizu tells Colossal. “I have been fortunate to report some of these remarkable discoveries in collaboration with researchers each year.”

Recent finds include new species of Hydrozoa, which are related to jellyfish and corals, and a phenomenon in which parasitic larvae cooperate to build swimming colonies, luring hosts. Minemizu increasingly encounters unwelcome material, too, in the form of trash—especially plastics—that impacts marine life far out at sea.

“We now regularly dive in ocean areas where humans have never ventured, and yet even in such remote regions, we are finding plastic waste carried there by human activity,” Minemizu says. “I am deeply concerned about the very real and significant impact this is having on the lives of these creatures.”

Minemizu is currently featured in an exhibition on view in the Blue Ocean Dome, presented by ZERI JAPAN, at EXPO 2025 in Osaka, Kansai, Japan. “I speak about the current relationship between marine life and plastic pollution, sharing my photographs and footage,” he says. “I sincerely hope that visitors to the expo will take the time to view it.”

Minemizu also runs Black Water Dive, an ongoing series of brief chartered expeditions that invite participants to dive during both day and night—in “blue” and “black” dives—to encounter rarely seen or entirely new underwater creatures. Find more on his website and Instagram.

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In Symbiotic Utopia, Agus Putu Suyadnya imagines a future in which tropical ecosystems not unlike those of Southeast Asia become sites for humanity to commune with nature.

Surrounded by verdant foliage and moss-covered roots that seem to glow with blue and green fuzz, a recurring astronaut figure approaches each scene with comfort and ease. In one work, the suited character cradles a chimpanzee à la notable conservationist Jane Goodall and waves a large bubble wand to create trails of the iridescent orbs in another. And in “Cosmic Self Healing,” the figure sits in a comfortable chair, a large potted plant at his side. This typical domestic scene, though, is situated on the moon, and Earth’s swirling atmosphere appears behind him.

While alluring in color and density, Suyadnya’s paintings are surreal and portend an eerie future irredeemably impacted by the climate crisis. The astronaut, after all, is fully covered in a protective capsule, a sign that people can only survive with this critical adaptation. “Humans cannot live without nature,” the artist says, “whereas the natural world without mankind will continue to survive. So why, as humans, do we think we have the upper hand?”

Symbiotic Utopia is on view through July 7 at Sapar Contemporary in New York. Find more from Suyadnya on Instagram.

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As the climate crisis worsens around the globe, its effects are no more apparent than in our oceans and the communities that rely on them. Delicate coral reefs, for example, face stresses from not only rising sea temperatures but the residue of human presence—plastics, castoff fishing equipment, and other waste.

Warm water is typically the culprit in coral bleaching events, characterized by algae leaving the organisms and turning them a ghostly white. The algae provides a food source and helps to protect the coral from disease, but when it goes, the host is left much more vulnerable. For Ana Brecevic (previously), this phenomenon inspires work that draws attention to this urgent issue.

Her recent series, Plasticum, reflects on the ever-growing problem of plastic pollution in the earth’s oceans while contrasting the beauty of marine ecosystems with their vulnerability to human impact. The artist meticulously cuts silhouettes of bleached corals and gorgonians—also known as sea fans—and ornaments them with baubles reminiscent of debris.

“I live along the Atlantic coast, where I collect marine waste that inspires and feeds into this body of work,” Brecevic says. “Everything is made from recycled paper, upcycled fabrics, and natural dyes.”

The artist describes Plasticum as “a quiet echo of a reality slowly settling in,” where microplastics and waste continually threaten underwater habitats and biodiversity. She says, “Through this work, I hope to spark questions about our connection to living ecosystems and what we choose to see—or overlook.”

Find more on Brecevic’s website and Instagram.

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In the 1985 film Out of Africa starring Meryl Streep and Robert Redford, a picturesque scene highlights the pair on a romantic picnic high above the sweeping Masai Mara National Reserve. Today, tourists are invited to recreate the iconic moment in a colonial-inspired, hillside champagne picnic experience for which “local Masaai tribesman are employed to provide picturesque authenticity to the experience,” photographer Zed Nelson says.

In his new book, The Anthropocene Illusion, Nelson takes us on a global journey that lifts the veil, so to speak, on what we think of as “wilderness” and our progressively uneasy relationship with the environment. “While we destroy the natural world around us, we have become masters of a stage-managed, artificial ‘experience’ of nature—a reassuring spectacle, an illusion,” he says.

The Anthropocene defines the ever-evolving, rapid changes to the environment due to humans’ unyielding impact. Many scientists place the epoch’s origin during the Industrial Revolution, but some consider 1945—the year humans tested the atomic bomb—to be the true beginning. Yet others suggest that the Anthropocene was initiated even earlier, during the advent of agriculture.

At that point, we entered into an increasingly uneasy relationship with the natural world, relying on ever-more extractive processes, heavy manufacturing, plastics, and advancing technology—all of which depend on the earth’s resources. Our societies’ colonialist tendencies also apply to nature just as much as other human-occupied territories.

We’re depleting entire aquifurs, forever altering the composition of the land, and irretrievably damaging delicate ecosystems. All the while, Nelson shows, we subscribe to a nostalgic view of untamed wilderness while at the same time expecting it to mold to our lifestyles.

In Kenyan national parks like Masai Mara, wildlife is provided sanctuary, “but the animals living within them are allowed to survive essentially for human entertainment and reassurance,” Nelson says. “These animals become, in effect, performers for paying tourists eager to see a nostalgic picture book image of the natural world.”

Nelson’s illuminating series taps into the absurdities of the illusion that nature is still thriving as it once was. Artificial snow shot from a cannon in the Italian Dolomites, for example, nods to warmer winters. A result of the climate crisis, leading to little snow, the powder is manufactured so holidaymakers can ski.

From vine-draped brutalist buildings to overcrowded national park lookouts to half-tame lions walked out like entertainers during a safari, he shares moments that feel skewed and incongruous, indicating looming and ultimately inescapable problems behind the veneer.

The Anthropocene Illusion series took first place in the professional category of the 2025 Sony World Photography Awards, and the book, which comes out this month, is available for pre-order in the Guest Editions shop. Ten percent of profits will be donated to Friends of the Earth, an environmental justice nonprofit. See more on Nelson’s Instagram.

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Depending on the day, you might look to the sky and see a sea of pale blue or a radiant sunset creeping toward the horizon. If you’re in a major metropolitan area, though, you might also be met with the characteristic red-brown haze of smog.

Berlin-based artist Macarena Ruiz-Tagle is behind the vibrant Cyanometer and Sunset postcards we’ve featured on Colossal (and that have sold out in our shop several times). But she also created a third version designed for those not-so-bright days.

The World Health Organization estimates that 99 percent of people on Earth breathe unsafe air, making Ruiz-Tagle’s Air Pollution postcard perhaps the most fitting for our era of climate catastrophe. While a stark contrast to the brilliant blues, yellows, and oranges of the other two, this design is awash in pale pinks and grays to match that of a gloomy, and even soiled, atmosphere. Like the others, the idea is to hold the work up to the sky and mark the corresponding hue before dropping it in the mail.

The interactive card shifts in meaning depending on whether the opening reveals a misty fog or air thick with chemicals, and it’s part of a growing movement to track climate data in a tangible, grassroots manner. “Separating the visual delight of being immersed in a cloud from the intoxicating reality of breathing heavily polluted air, the postcard evokes both the smog that engulfs global cities and the ethereal beauty of fog,” the artist writes. “In its mesmerizing aesthetic ambiguity, the work sustains a space for contemplation within our troubled atmosphere.”

Find all three postcards in the Colossal Shop, and explore more of Ruiz-Tagle’s work on her website.

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