Based on data from the United Nations database, artists and photographers create works that reflect the state of the Marine environment.

According to the United Nations Marine pollution statistics: 5.7%, 45%, 70%, etc., the photographer covered the water with a network of light and shadow structures of artist Stanislava's "Ghost Net" series in different proportions.

Thousands of years after it was said that "human beings make art by imitating nature," the British painter Joshua Reynolds proposed another view: art makes nature better. Art witnesses and is inspired by the interactions between people, creatures, and natural resources.

Born in 1988, Stanislava specializes in multiple mediums, especially the interaction between data and images. After receiving the proposition, the artist began to think about how to use visual language to properly describe the state of hydrology and ecology.

The ocean has long suffered from irreversible plastic pollution. According to the United Nations, the impact of pollution is quantifiable. For example, 5.7% of fishing nets are eventually lost at sea. 45% of Marine mammals on the endangered species list are affected by fishing tools. 70% of large floating plastic debris in the high seas is associated with human capture, and so on. Soft, empty fishing nets become a sharp edge that destabilizes the Marine system.

Stanislava targets "Ghost fishing nets" - all abandoned or lost fishing nets that disappear into the ocean without actually disappearing. "Flotsam in the Earth's water system affects all kinds of organisms that coexist with us. Large fishing nets that are lost and broken in the ocean drift across various seas and do not degrade in a short time, entangling them tightly in the waterways that Marine life passes through, or hanging on to garbage, "she said." The scale is catastrophic."

The artist and photographer cooperated to produce this set of images, using the difference between light and dark under the projection, according to the United Nations statistics mentioned above: 5.7%, 45%, 70%, etc., the light and shadow of the network structure are covered in the water in proportion, and the dark ground is covered in the water surface.

After data visualization, abstract, blunt numbers become easy to empathize with. "I imagined that the projection itself was a ghost, like a phantom on the water." Stanislava tells us that each image file is named after the percentage of data it represents.

This set of images conveys a vague and poetic visual perception, which seems to be a metaphor for the contingency of nature and human life itself, reminiscent of the "Chance Operation" emphasized by pioneer artist John Cage, in which artistic creation is completed in a relaxed and non-interventional state.

The fishing net is the existence of a killer, after losing human control, it has become an invisible source of pollution. The artists and photographers implicitly show that the seemingly stable water ecosystem is hiding a crisis.

"Usually, my work is related to mapping. In the evolution of the terrain, the land bears witness to what has happened in this place. But after joining the project, I realized that studying water systems can help us find a holistic solution to the global climate crisis. A river that flows through many neighboring countries; An ocean current can carry something from one country to another far away. This close connection makes it inevitable that protecting the water ecological environment is a shared responsibility of many countries." In the United Nations Sustainable Development Goals (SDGS), the protection of "water" is listed in article 14. Changes in ocean temperature, ocean currents and Marine life drive the global ecosystem.

"Using scaffolding and light projection allows me to complete a large-scale work as both an artist and a planner without wasting any physical materials; And by communicating remotely to a team of photographers, it means I don't have to fly or even ship material across the ocean." The artist revealed that the creative process can also be more environmentally friendly and follow a sustainable methodology.

Last summer, Stanislava completed a major work of architectural art in Kosovo's Mitrovica River. The river ostensibly divides the city into two parts, but actually connects the city together. "I used metal scaffolding to create a huge temporary water playground for people to enjoy themselves in the water."

Stanislava took special care to ensure that the installation would not have any negative impact on the river. She designed it so that after it was removed, the scaffolding could be reused on other construction sites.

However, to her surprise, the installation eventually became a gathering place for a large amount of garbage in the river. "Although I thought there would be one or two pieces of floating garbage stuck there, the actual situation was far beyond my expectations and even caused trouble to local residents."

So, during the two weeks of construction, she spent an hour every morning in the water to personally clean up the trash. This experience helped Stanislava explore plastic waste in the water and how art interacts with city dwellers in a new and intuitive way.

Empathy is an artist's gift and ability. This focus on the underprivileged and the lack of resources, combined with a keen use of natural materials, forms Stanislava's unique creative language. However, she does not enjoy static or label, "every time I create, I choose a specific medium for a specific inspiration." It could be a film, a marble sculpture, a series of paintings, or a piece of architecture. I like to work when not only the ideas are new, but also the medium."

She is obsessed with memory forms constructed through land and water, and has been wondering: What does memory mean for someone who is trying to face the future but is haunted by the past? What kind of experience can empty space bring? How does it become a monumental sculpture or an anti-monumental sculpture, to carry things from the past? These elements form the core of her work.

The artist appropriates various environmental phenomena and disseminates them in a more visual way, with the purpose of nothing more than market education - although most people are aware of the precarious climate, water and soil ecological problems, they do not seem to sacrifice convenience in their specific lives.

How to wake up a fool? The artists believe that by constantly repeating and emphasizing the urgency of environmental protection, the promotion of low-carbon, sustainable lifestyles (such as urban cycling, or the choice of biodegradable materials) is always effective. Fashion and art have always been the most appealing cultural expressions. For example, a collection of photos can make us think about how to bring back the "lost web."