Monthly Archives: November 2017

Launch of 25 Year Programme in South Sumatra

This post comes to you from Arcola Energy

Aligned with COP23, on 14th November 2017 at Her Majesty’s Treasury London: political leaders from South Sumatra Indonesia met with UK government representatives at the launch of a 25 year business and research collaboration on zero emission mobility & low carbon energy between the Province of South Sumatra and UK infrastructure innovator Ecubes Arcola.

The Governor of South Sumatra Alex Noerdin and Regent of Muba Regency Dodi Reza met with Foriegn Office Minister Rt Hon Mark Field MP and the Prime Minister’s Trade Envoy to Indonesia Richard Graham MP in the historic Churchill Room at the Treasury at the event hosted by Ecubes Arcola.

With engineering suppliers in the UK and PT-PP, a leading Indonesian state-owned construction and investment company, Arcola Ecubes will deliver a rolling 25-year programme of clean and low carbon infrastructure projects in power generation and mobility.  The first two projects announced will be hydrogen zero emission mobility at Jakabaring Sports City, Palembang, for the Asian Games 2018 and a 10MW clean power generation project in Muba Regency.

Ecubes Arcola Treasury Event Press Release V2.2

Go to Arcola Energy

Input your views on A Culture Strategy for Scotland

This post comes from Creative Carbon Scotland

Creative Carbon Scotland is inviting people working across arts and sustainability contexts to submit their views on the role of culture in creating a more sustainable Scotland as part of the Scottish Government’s call for contributions to the development of a new Cultural Strategy.

Creative Carbon Scotland is seeking to ensure that the connection between culture and climate change is recognised in the cultural strategy and to open up the conversation of the wider role of culture in society particularly in relation to environmental sustainability.

Sharing Your Input

We are asking for your views on:

  1. What you perceive as the role of arts and culture in contributing to a more sustainable Scotland at individual, organisational and strategic levels
  2. Examples of good practice and opportunities for new collaborations across cultural and sustainability sectors
  3. Priority areas to further the role of culture in bringing about transformational change to a more sustainable Scotland

The views gathered through this short survey, and the input from the recent Green Tease on the subject, will be fed back annonymised to the Scottish Government and shared more widely through Creative Carbon Scotland’s channels.

Please contribute your views by filling out the short survey below or by completing it on SurveyMonkey by Friday 17th November



The post Input your views on A Culture Strategy for Scotland appeared first on Creative Carbon Scotland.



 

About Creative Carbon Scotland:

Creative Carbon Scotland is a partnership of arts organisations working to put culture at the heart of a sustainable Scotland. We believe cultural and creative organisations have a significant influencing power to help shape a sustainable Scotland for the 21st century.

In 2011 we worked with partners Festivals Edinburgh, the Federation of Scottish Threatre and Scottish Contemporary Art Network to support over thirty arts organisations to operate more sustainably.

We are now building on these achievements and working with over 70 cultural organisations across Scotland in various key areas including carbon management, behavioural change and advocacy for sustainable practice in the arts.

Our work with cultural organisations is the first step towards a wider change. Cultural organisations can influence public behaviour and attitudes about climate change through:

Changing their own behaviour;
Communicating with their audiences;
Engaging the public’s emotions, values and ideas.

Go to Creative Carbon Scotland

Sustainability in Film – November Fortnight

This post comes from Creative Carbon Scotland

We’re pleased to announce a series of events connecting climate change, sustainability and film this November.

Whether you’re interested in exploring the meaning of environmental film making, looking to enhance the sustainability of your film productions or turn your hand to a creative challenge – we’ve got something for you.

Wednesday 15th November, 6 – 8pm

Green Tease: More Films about Food and Farming. And Water…

What defines an ‘environmental film’? Do films have a role to play in raising awareness and changing our culture towards a more sustainable one? In this Glasgow Green Tease event we’ll be joined by Scott Donaldson, Head of Film Education at Creative Scotland, and Aimara Reques, Producer of the extraordinary documentary Aquarela (release date 2018), with screenings of film clips old and new, and audience discussion.

Register here

Wednesday 22nd November, 10 – 5pm

Carbon Literacy Training with albert

Carbon Literacy with albert is a unique, engaging and solutions based training session offering attendees from the UK production and broadcast industry the information and inspiration to live and work in a more sustainable way. Across the 6 hour workshop, delegates can expect to be challenged with engaging presentations, fun (yes, fun!) activities and the space to reflect and plan. On successful completing of the day, attendees will:

  • have a sound understanding of the science of climate change
  • understand how to take action to reduce their impact
  • recognise the impact that production has on the environment
  • have knowledge of the tools and techniques to lessen this impact

Register here

Monday 27th November, 5 – 7pm

Green Tease: Environmental and Green Issues Pitch

Can you speak passionately about environmental issues? We’re looking for new talent from across Scotland who can take environmental news stories, both global and local and turn them into engaging videos for BBC The Social.

Whether you’re a budding film maker, engaged in tackling climate change or looking for new ways to communicate about sustainability, why not turn your hand to this exciting creative challenge?

In this opportunity and Green Tease event, run by Creative Carbon Scotland and hosted by BBC The Social, we’re inviting you to produce short (90 second) videos about environmental stories and share your content with arts and sustainability practitioners, with the chance of your footage being showcased on the BBC The Social platform.

Register here


Please contact gemma.lawrence@creativecarbonscotland.com if you have any further enquiries about these events.

 



The post Sustainability in Film – November Fortnight appeared first on Creative Carbon Scotland.



 

About Creative Carbone Scotland:

Creative Carbon Scotland is a partnership of arts organisations working to put culture at the heart of a sustainable Scotland. We believe cultural and creative organisations have a significant influencing power to help shape a sustainable Scotland for the 21st century.

In 2011 we worked with partners Festivals Edinburgh, the Federation of Scottish Threatre and Scottish Contemporary Art Network to support over thirty arts organisations to operate more sustainably.

We are now building on these achievements and working with over 70 cultural organisations across Scotland in various key areas including carbon management, behavioural change and advocacy for sustainable practice in the arts.

Our work with cultural organisations is the first step towards a wider change. Cultural organisations can influence public behaviour and attitudes about climate change through:

Changing their own behaviour;
Communicating with their audiences;
Engaging the public’s emotions, values and ideas.

Go to Creative Carbon Scotland

Keyboard Conversations Across the World

This post comes from the Artists and Climate Change Blog

ClimateKeys, like climate change, has spread and become a world event. This can only be seen as a reflection of how connected we all are as humans on this beautiful planet. The United Nations 23rd Conference of the Parties (COP23) is coming, and so is ClimateKeys. In these keyboard conversations around the world, people will be afforded the space to think about climate change, and the opportunity to talk about it with others. Such is the combination of music and speech; using music as an introduction to the topic gives us a chance to think about this all-encompassing phenomenon, and it settles us down into a state of relaxed (rather than frantic) thought in order to have a more positive dialogue.

The London launch of ClimateKeys took place on the 25th of October, and was a gala of music and speech. Ten pianists performed various pieces of classical music, interspersed with three speeches. Hannah van den Brul, who has herself written academically about music and climate change, discussed ClimateKeys’ collaborative efforts with experts to spark conversations about climate change, as well as the “glocal” aim of local keyboard conversations happening across the globe. ClimateKeys was also honored to have Nicole Lawler, mother of Zane Gbangbola, as its special guest. Nicole spoke about a campaign to expose the truth about her son’s death due to landfill poisons leaking into their home during the 2014 floods in the UK (with suggested links to climate change). Guest speaker Sir Jonathon Porritt referred to the diversity of speech topics that ClimateKeys will include, ranging from re-orienting communities and behavior modification, to inter-disciplinary solutions and climate change art – a real reflection of how climate change touches all aspects of society and human life. Porritt also drew a connection between the London launch and a ClimateKeys concert which took place simultaneously in Bosnia where Professor of Climatology and COP delegate Goran Trbic emphasized the importance of international common aims in order to build on the Paris Agreement. This not only highlighted the significance of the event and topic to that country, but also demonstrated the interconnectivity inherent to climate change; our actions will affect others, and theirs will affect us.

The fact that pianists have come forward to take part in ClimateKeys is, in itself, no small achievement. Concert pianist training goes hand in hand with a self-focused approach that favors a concert being purely about a pianist’s mastery of the instrument. However, the power of climate change to bring people together and push them out of their comfort zones and normal routines is such that here we are with over 60 concert pianists to date ready and willing to give up the spotlight and share the stage with speakers and even audience members. This is to be applauded. But this also means that the road to ClimateKeys has not always been a smooth one. On average, only one in every fifty pianists contacted responds. As a result, ClimateKeys is still missing a world-renowned concert pianist. An international piano star joining ClimateKeys would make the initiative more visible on the world stage (visibility itself being a barrier to awareness on climate change as it is arguably tricky for anyone to actually “see” the climate). If there are any climate change activist-musicians out there who know of such a pianist, then kindly connect them to Lola Perrin (lola@climatekeys.com).

In contrast to pianists, speakers have been coming in thick and fast. It seems as though there are climate change experts across the disciplines who sense the potential of this forum for positive conversations and they embrace the invitation to give a talk without the use of projection or PowerPoint; a ClimateKeys principle in order to avoid academic presentations. In the words of George Marshall, “The single most powerful thing an individual can do about climate change is to talk about it,” and this is what ClimateKeys proposes. Some of the best thinkers in the world are on board with the concept, and are keen not only to give talks, but also to facilitate genuine conversations (not Q&As) with the audience. This strengthens the resolve of all involved and heightens the excitement of this particular artistic response to COP23 and climate change.

One of said speakers is none other than myself.  I have chosen to speak about the potential for theatre to offer an alternative site of meaning-making around climate change, as well as creating space for thought. This was inspired by my recent geography research on climate change theatre, and, I think, is a good reflection of the interdisciplinary approach that ClimateKeys has embraced.  Along with my melding of drama and geography, there will be three pianists playing classical pieces which they have chosen – pieces that resonate with them on the theme of climate change from composers Debussy, Liszt, Rachmaninoff and Karen Tanaka. The concert takes place on the 11th of November in St Cuthbert’s Church in West Hampstead, London; truly mingling the worlds of geography, science, the arts and religion.

With this and over 30 other concerts in nine countries throughout November 2017, and over 100 concert musicians and guest speakers in 20 countries currently signed up, ClimateKeys is a truly “glocal” affair. The need for alternative ways of considering climate change are apparent from this response. We are all creative beings, and we all create in different ways. This is why scientific data appeals to some and art appeals to others, why numbers attract some and music attracts others. ClimateKeys is part of new artistic collaborations with science that provide alternative pathways to action on climate change, and the launch is the first step on our journey to increasing our environmental awareness and positive response to climate change.

(Top image: Hannah van den Brul delivering her talk  ‘Introduction to ClimateKeys’ at the London Launch event.)

______________________________

Julia Marques is a climate change dramatist based in London.  She has just completed her research exploring theatre’s potential as an alternative site of meaning-making around climate change that allows people space to think about its re-presentation in the performance space.  She is most interested in the intersection between the arts, environmentalism and climate change science.

 


About Artists and Climate Change:

Artists and Climate Change is a blog that tracks artistic responses from all disciplines to the problem of climate change. It is both a study about what is being done, and a resource for anyone interested in the subject. Art has the power to reframe the conversation about our environmental crisis so it is inclusive, constructive, and conducive to action. Art can, and should, shape our values and behavior so we are better equipped to face the formidable challenge in front of us.

Go to the Artists and Climate Change Blog

Lost Skies

This post comes from the Artists and Climate Change Blog

As an artist, my goal is to elicit transformative sensory, cognitive and visceral experiences. To do so, I use cutting-edge technology as a vehicle for biomimicry (nature-inspired design). My approach is based on the study of humans’ innate tendency to seek connections with nature. According to the biophilia hypothesis that was introduced by American biologist Edward O. Wilson in 1984, humans are attracted to, and desire connections with, natural elements such as landscapes, light, and changes in light. As an artist, tapping into this desire provides me with a greater understanding of what motivates people and what type of artistic content can truly be transformative.

I have long been fascinated with people turning their eyes towards the sky for meaning and guidance. Our skyward gaze has shaped art, science, religion, agriculture, industry, and worldviews across this globe since prehistoric times. The sky is present in most of our myths; its mystery is endlessly mesmerizing.

There is only one sky, but the ways we see and interpret it are infinite.

I create art that seek to express the essence of our collective gaze. Using artificial intelligence (AI) as an artistic tool, I combine numerous points of view into individual archetypal images – AIEye. Algorithms, developed in collaboration with AI computer scientists Mihai Jalobeanu and Nebojsa Jojic, search the Internet and identify different views of the sky based on time, location, air pollution, and meteorological data. These complex mathematical systems review all of the found images, analyze their salient properties, and summarize the data. The resulting artwork captures the sky as seen through varying human perspectives.

Skies Epitomized is a series of prints that depict the essence of the sky in a specific time and place. Each individual sky is paired with a person from the region looking on to create the illusion that the viewer is seeing the sky through their eyes.

Skies Epitomized, Polar Climate. Photo by Joe Freeman.

Skies Epitomized, 9/11. Photo by Joe Freeman.

In Lost Skies, two large-scale lightboxes depict contrasting views of the polluted sky – one based on the perspective of a climate change skeptic, the other based on images of the sky found in polluted areas of the world.

Lost Skies, Climate Change Through The Eyes Of A Skeptic and Believer. Photo by Maja Petric.

AIEye combines numerous points of view into individual archetypal images. The algorithm searches the Internet for images of the world affected by climate change-related events. It looks at all of these images and keeps bits and pieces of them, using them as brushes to paint the essence of what everyone saw.

Throughout the exhibition of Lost Skies at 4Culture Gallery in Seattle, I used AIEye to generate new visualizations of the sky that reflected current events (e.g. Hurricane Maria, the British Columbia wildfires, the melting Arctic ice, etc.). The images are published here.

Each of these visualizations is composed of thousands of images returned by the Internet image search for a particular topic. The images have a deep zoom effect that provides viewers with the ability to explore the content within the content based on the Internet image search results.

In Skies Epitomized of War and Peace, I juxtaposed what one sees gazing at the sky in peaceful parts of the world with the sky as it is seen in areas of conflict and unrest. The first and last boxes show the essence of people’s skyward gaze in Iceland and New Zealand, which, according to the Global Peace Index, are considered the most peaceful countries in the world. The second and fourth box show a view of the sky in the most conflicted areas such as Iraq and Syria. The third box shows the gaze at the universal sky.

Skies Epitomized of War and Peace: Sky Epitome Of The Icelandic, Sky Epitome Of The Iraqi, Sky Epitome Of The Universal, Sky Epitome Of The Syrian, Sky Epitome Of The New Zealand Sky. Photo by Maja Petric.

(Top image: Lost Skies, California Wildfires. Photo by Maja Petric.)

______________________________

Maja Petric is a new media artist. She uses cutting edge technologies to create art installations that evoke the sublimity of nature. On this topic, she has received a Ph.D. from the University of Washington and a Master’s from New York University. Her artwork has been exhibited internationally, including at y, Henry Art Gallery, Microsoft Research Gallery, Matadero, Medialab Prado, etc. She has been awarded a Microsoft Research Residency Award, Richard Kelly Light Art Award, Doctoral Fellowship from the National Science Foundation, and has been nominated for an Arts Innovator Award, FastCo. Innovation by Design Award, International Light Art Award, etc.

 


About Artists and Climate Change:

Artists and Climate Change is a blog that tracks artistic responses from all disciplines to the problem of climate change. It is both a study about what is being done, and a resource for anyone interested in the subject. Art has the power to reframe the conversation about our environmental crisis so it is inclusive, constructive, and conducive to action. Art can, and should, shape our values and behavior so we are better equipped to face the formidable challenge in front of us.

Go to the Artists and Climate Change Blog

Imagining Water, #3: Confronting the Holy River Yamuna

This post comes from the Artists and Climate Change Blog

The third in a year-long series on artists who are making the topic of water a focus of their work and on the growing number of exhibitions, performances and publications that are popping up in museums, galleries and public spaces around the world with water as a theme.

Vibha Galhotra

I met Vibha Galhotra, a New Delhi-based conceptual artist, at a talk she gave recently in conjunction with Unfiltered: An Exhibition About Water, which is currently on view at the William Benton Museum of Art on the campus of the University of Connecticut.** The show’s themes include: “the power of water and the changing landscape; water pollution and biology; water scarcity; climate change; the physical properties of water; and the Connecticut River.” Vibha’s piece in the exhibition, a 10+ minute film entitled Manthan, as well as much of her work in recent years, confronts the critical condition of the Yamuna River, which flows through the city of Delhi and is a source of water for more than 70% of the population.

The Yamuna River

The Yamuna River, originating in the Himalayas, is one of the most polluted rivers in the world. Although relatively clean further upstream, in Delhi, India’s cultural and political capital, it contains highly toxic industrial and domestic waste, untreated sewage, animal carcasses and other dumped garbage. In her remarks, Vibha referred to the Yamuna as a “cesspool,” a “dead” entity. She bemoans the reality that despite the river’s exceptionally polluted condition, practicing Hindus continue to bathe in what they consider to be its sacred waters as a means of cleansing their sins.

Sediments

In a 2014 series called Sediments, Vibha used the actual toxic black sludge from the Yamuna River as a medium for creating abstract, large scale paintings. She sees the series as a way of voicing the contradictions between the traditional spiritual holiness of the river and its reality as an unholy, dying body of water as well as the idiocy of officials who conduct religious rituals at the river rather than clean its waters.

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Vibha Galhotra “painting” with Yamuna River Sludge, 2014. Courtesy of the artist and Jack Shainman Gallery.

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Vibha Galhotra, Installation View of Sediments and Other Untitled…, at the Jack Shainman Gallery, 2015. Courtesy of the artist and Jack Shainman Gallery.

Flow

Similarly, her series, Flow is also inspired by the river. Using thousands of ghungroos, small metallic bells worn by classical Indian and Pakistani dancers, sewn onto fabric, Vibha created two and three dimensional pieces that resemble topographical maps “of the river passing by the city I live in.” The ghungroos form a complex mosaic in lovely shades of  gold, copper and other earth tone colors that stand in stark contrast to the ecological disaster that the artist is addressing. She explained that she is “creating an organically sewn, aesthetic surface to invite the viewer to the clean and beautiful facade to talk about the chaos behind.”

VG15.00-Flow-1024x682.jpg

Vibha Galhotra, Installation View of Flow (2015) in ABSUR -CITY -PITY -DITY at Jack Shainman Gallery, Nickel-coated ghungroos, fabric, polyurethane coat, 129 x 93 1/4 x 112 1/2 ins. Courtesy of the artist and Jack Shainman Gallery.

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Detail image of ghungroos. Courtesy of the artist and Jack Shainman Gallery.

Manthan

Manthan, Vibha’s contribution to the Benton exhibition, is, as the label to the film suggests, an “homage to the river.” Alternating between aerial shots and close ups, Manthan takes the viewer on a haunting journey down the toxic Yamuna, revealing industrial structures that contribute to the pollution, garbage coated coasts, images of sludge that form abstract forms in acidic colors and waste pouring out of drainage pipes forming foam that moves through the water like icebergs. Eventually, four “fishermen” wearing black wetsuits appear poling slowly down the river. They fold a pure white length of fabric that stands in stark contrast to the black sludge as if to purify the dead water. The film concludes as the men dunk a white sheet into the water and pull it out to reveal its toxic, mucky surface.

At the conclusion of Vibha Golhatra’s talk, she summarized her goals as an artist whose work is imbued with social responsibility: “I am posing questions through these works. I am not answering them.”

(Top image: A Hindu man at prayer amidst the industrial foam of the Yamuna River. Courtesy of AP.)

**I have two mixed media paintings in the Unfiltered exhibition entitled, Rising Tides, #3 and Water Wars, #2.

______________________________

Susan Hoffman Fishman is a painter, public artist, writer, and educator whose work has been exhibited in numerous museums and galleries throughout the U.S. Susan’s latest bodies of work focus on the threat of rising tides caused by climate change, the trillions of pieces of plastic in our oceans and the wars that are predicted to occur in the future over access to clean water. Susan is also the co-creator of two interactive public art projects: The Wave, which addresses our mutual need for and interdependence on water and Home, which calls attention to homelessness and the lack of affordable housing.


About Artists and Climate Change:

Artists and Climate Change is a blog that tracks artistic responses from all disciplines to the problem of climate change. It is both a study about what is being done, and a resource for anyone interested in the subject. Art has the power to reframe the conversation about our environmental crisis so it is inclusive, constructive, and conducive to action. Art can, and should, shape our values and behavior so we are better equipped to face the formidable challenge in front of us.

Go to the Artists and Climate Change Blog

Cash, Clash, & Climate Exhibition Extended Until 26th November!

MASLEN & MEHRA in collaboration with street artists, Shuby and Delete
1 September – EXTENDED until 26th November

Hastings Museum & Art Gallery
John’s Place, Hastings TN34

Maslen & Mehra consider their more recent work to be ‘micro’. By that, they mean they are honing in on very specific political and environmental dilemmas. This requires a completely different methodology to previous work in order to explore detailed narratives. The sculptures in their current series have been based on ceramic plates researched in museums around the world. These include the Victoria & Albert and British Museums, London; Hastings Museum, UK; Mares Museum, Barcelona; the Metropolitan Museum, New York; the Archaeological Museum and the Turkish and Islamic Art Museum, Istanbul; the Asian Museum of Civilization in Singapore and the Museo Internazionale delle Ceramiche in Faenza, Italy. Maslen & Mehra fashion the sculptures from humble materials: wire and papier-mâché, completed with a decoupage technique of small tiles of archival prints. The narrative of each original plate is altered to highlight a variety of ideas tied to three themes: Cash, Clash and Climate.

The Cash series draws attention to bank bailouts; Doughnut Economics; credit culture; housing bubbles; tampon tax; quantitative easing; war as big business; the commodification of food staples; and the almost religious status that money has reached in our times. The Clash series embodies social unrest from London to Athens; Article 475; the refugee crisis; Grenfell; Greece and the Eurozone; social media to organise protests; fracking; gun control vs gun rights; and the Dakota Access Pipeline.  Lastly, the Climate series highlights environmental topics such as global coral bleaching events; chronic pollution as a heavy cost for economic power in China; melting ice caps; the opposing views of climate change; El Niño; Natural Capital; and the legacy of radiation from Japan’s nuclear disaster in Fukushima. The artists have made bespoke stands for the sculptures and invited local street artists, Shuby and Delete, to add to their surfaces, responding to each theme. This exhibition at the Hastings Museum draws together pieces from the three collections for the first time, representing years of work.

The sculptures individually pose questions about political, social and economic structures but together they ask how they, in turn, relate to social unrest and environmental issues. Some themes may be familiar to the viewer such as the piece, Polarized, which confronts us with opposing slogans: ‘Global warming is a cruel hoax’ and ‘Climate can’t wait’. Others are less obvious, such as the piece Article 475 which encourages the viewer to look further if they don’t understand the reference. Faith in Fiat questions the shift from commodity money to a fiat system which is effectively a promise. Is it sustainable to have such blind faith? The largest piece in the collection, Natural Capital references a system by which natural assets (water, geology, biodiversity, soil, air) and ecosystem services (pollination by insects, recreation, natural flood defences etc.) are given a financial value. Could this alternate economic system be the key? Maslen & Mehra have created the framework Cash, Clash and Climate in order to ponder questions about the complexities of living today and they invite viewers to follow their train of thought.

Hasting Museum and Art Gallery has an extensive ceramics collection. This exhibition will be in the newly refurbished Ceramics Gallery which showcases pottery production over the past 5000 years.

Hastings Museum and Art Gallery
Telephone: 01424 451052
Or you can contact us via Twitter or Facebook
https://twitter.com/hastings_museum
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Admission is free. We are open all year:
April – October: Tuesday - Saturday 10am – 5pm, Sunday 12noon – 5pm. Last admission 4.30pm
November – March: Tuesday - Saturday 10am – 4pm, Sunday 12noon – 4pm. Last admission 3.30pm
The Museum has full wheelchair access throughout and disabled toilet facilities.
Free parking available outside Museum, including 1 disabled parking bay.



MASLEN & MEHRA Biography



Tim Maslen (b. 1968, Australia) studied Fine Art at Curtin University, Perth and completed an MA at Goldsmiths University, London in 1997. Jennifer Mehra (b. 1970, London) studied Fine Art at City Art Institute, Sydney and the National Arts School, Australia. Mehra was a founder of VOID, an East London artists’ – run space, which staged dozens of exhibitions for four years from 1997 – 2000.

Maslen & Mehra have worked collaboratively since 2000. They are recipients of a grant award from the Arts Council of England for their ongoing work Cash, Clash & Climate (2015 – 2017). Work from this series was included in an exhibition curated by Jenni Lomax, Melanie Manchot and Brian Cass at the Towner Contemporary (July 2016). They exhibited work from this series in the exhibition The Fall Of The Rebel Angels in Venice in 2015.

In 2014, they staged a solo exhibition at Lucy Bell Gallery for the Hastings Photo Festival. They were selected by Paul Noble for Creekside, London 2013, and were included in LUMINOUSFLUX at the Lawrence Wilson Art Gallery as part of the Perth International Arts Festival. In 2011, they were shortlisted for the Latitude Contemporary Art Prize alongside Graham Dolphin, Delaine Le Bas, Andy Harper and Alice Anderson.

The work of Maslen & Mehra can be found in collections such as Tattinger Switzerland, Galila Collection Brussels, Art EsCollecion Madrid, numerous international private collections and the Altered Landscape Collection, Nevada Museum of Art. Maslen & Mehra are featured in the stunning accompanying book titled The Altered Landscape published by Rizzoli.

Solo exhibitions have been staged in New York, London, Paris, Rome, Barcelona, Dubai, Istanbul, Toronto, Perth, Sydney and Berlin. In 2011 there was a solo presentation of their work for the Scotiabank CONTACT International Festival, Toronto. A monograph, Mirrored – Maslen & Mehra was published by Verlag für moderne Kunst Nürnberg in 2008 with texts by Hamburger Bahnhof Museum Curator, Eugen Blume and art historian, Edward Lucie-Smith. Earlier projects include an installation at the Frissiras Museum, Athens during the Olympics (2004), a sculpture installation exhibited at Artspace, Sydney (2002), and a solo project at Dilston Grove, London achieved with awards from the Henry Moore Foundation and London Arts (2001).