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During 2015, artist and activist Gustav Metzger embarked on one of his last important works. Recognized for introducing self-destructive creations, Metzger had devoted his career to confronting human struggles from peace activism to plant-based living. Through a short video message, he issued a call for a worldwide initiative to honor the environment.

“I, Gustav Metzger, am asking for your involvement in this global appeal for a day of action to reflect on the environment on November 4th, 2015,” he declared, encouraging artists and creatives to stand against the continuing disappearance of living beings. “The mission is to remind people of the abundance and sophistication in nature … and by doing so creativity will explore territories that are inherently creative.”

The Birth of Nature Remembrance

Thus the environmental art day was established, a day when cultural practitioners throughout Britain developed works to the escalating planetary emergency. One of the curators, who supported Metzger in his later life, notes his drive for action. “I sensed a profound sense of urgency for him at the close of his days,” she says. “I just said – don’t delay. We shouldn’t hold back for financial support or for anyone to authorize this. We should proceed.”

A Decade Later

A decade on, the initiative hasn’t quite triggered the broad uprising across the arts that Metzger had dreamed of, but organizers feel its impact can still be felt in campaigns like cultural advocacy groups and environmental protests, as well as in how makers handle the eco-friendliness of their practices. That’s why she is restaging it to celebrate its ten-year mark. Included in the key participants taking part currently are Cornelia Parker and other notable figures. They have all created visual art, made video appeals, and produced installations set to be revealed on the fourth of November next year.

Cultivating Awareness

In conversation with Anya Gallaccio, she is out in a field in Kent, assisting with planting apple trees that will grow to form a coiled garden. Working with schoolchildren, her project is part creative piece and part learning experience. She describes, the design and cultivation sessions have already included learning about measurements (spacing the planting intervals), genetics (discussing the hereditary traits), and geography (mapping the journeys of how various cultivars came to the UK).

Several the apples were picked because they’ve got humorous titles such as the Duck’s Bill. We have one apple that ‘bleeds’ crimson liquid

“Several the apples were selected because they’ve got funny names such as the Bloody Butcher,” the artist notes. “We have one apple that ‘bleeds’ crimson liquid. Every one carries histories attached. The ancient variety was imported by the Romans. The local breed is the apple that dropped off a tree and landed on the scientist’s head.”

Gallaccio wanted the children to be more actively aware of the natural world and the influence we have over it. “In their experience, apples were just things you buy from a supermarket, so I was urging them, next time they were out, to look on the bag and see the variety and their origin. Hopefully it says Kent!”

Creative Initiatives Across the Country

At the capital, a participant’s project on disappearance will involve participants looking through a major gallery on a mission to find the ice masses that have been vanished in the past decade. All formations will be illustrated on the gallery’s windows and walls using ultraviolet markers. Each discovery, a chime will sound and a recitation will be conducted to remember that individual formation.

At the same time, up in another location, a creative will be hosting a free exhibition about our separation from nature, as well as organizing a shared meal, prepared with organic, local produce. Over in Newcastle, an artist is broadcasting her environmental performance, in which local singers embark on a mission to perform for vegetation in a green space.

Youth Perspectives

Like Gallaccio, another participant will be collaborating with schoolchildren – on the actual event she is aiming to cover an art space in kids’ letters and drawings that express their aspirations and concerns for the tomorrow. “Youthful expressions are compelling because they’re not as restricted as mature perspectives,” she says in her public appeal. “The contributions of youth to the world is something distinctive and perhaps it can inspire a sense of responsibility from us all. Youth is pure. They have concerns for tomorrow. But let’s not make it about worry – it should be about optimism and making sure that they see a better world.”

Tributes and Thoughts

Another artist’s work also connects with children. Drawing on past experience, his Birds Can Fly involves drawing birds and then performing as birds – and for the event he is aiming to represent Liverpool’s famous Liver bird. He is also conducting a guided walk of the city, visiting various sites that have been part of his Pansy Project over the past twenty years. The project began when he faced multiple occurrences of homophobic abuse on a single day. As a reaction, Harfleet decided to plant a pansy at the spot where it happened and document it – the project has since spiralled to incorporate experiences reported by other people across the world. “I place the plants there but they fade quickly,” says Harfleet. “It seems wildlife enjoys them, so they’re a very temporary memorial.”

The artist selected the pansy not just for the clear connection – it has long been a derogatory label – but also because its name derives from the French verb, penser, to think. “It became associated with a man who is thoughtful, and that, of course, is a bad quality,” he says.

The intention on 4 November is to plant pansies at additional sites and also replant flowers in places he has previously memorialised, all the while discussing with those on the walking tour about the occurrences and his recollections. “We’ve seen quite a few after my previous work,” he says sadly.

Moving Forward with Hope

Harfleet hopes his work – and