Impact case study database

1. Changing climate psychology, awareness and education.

In April 2019, as Pinsky was installing Pollution Pods in Vancouver, Canada commissioned as part of the annual TED conference, the Mayor of London announced that 2 million Londoners – including 400,000 children – were living in areas exceeding legal air pollutant metrics (S1). The global health implications of air pollution continue to require urgent and drastic action from individuals and governments.

In surveys of audiences after they experienced Pollution Pods, many participants reported an “ awareness of the environmental consequences of their action, their willingness to take responsibility for their consequences, and *belief in the relevance of environmental problems for daily life.*” (S2)

Figure 4. Visitor enjoys Norwegian air at Somerset House, London

Pinsky’s Pollution Pods succeed in provoking the emotions and cognitions which are most likely to incite positive behavioural change in audiences and, in turn, the global atmosphere. The effectiveness of Pinsky’s approach was recognised in the 2019 textbook Public/community health and nursing practice: caring for populations as an aid to help nursing students comprehend the dangers of public health hazards like toxic air and convey them to patients (S3).

Figure 5. Pollution Pods exhibit at TED

Pollution Pods pairs well with educational events such as the King’s College seminar series which was funded by the Medical Research Council (S4) and the events surrounding the UN Youth Climate Summit New York City, 2019. Pinsky continues to be involved with TED Talks, exhibiting at the annual 2019 conference and delivering a talk at TEDx Freiburg. (S5)

2. Global Collaboration for Global Problems

As illustrated by the inter-connected pods, Pinsky emphasises the need for global participation in solutions to climate change. From the inception of the project, Pinsky worked closely with international institutions and corporations: NTNU, IFF, AirLabs, Hubs and the Norwegian Institute for Clean Air. In particular, his commission for IFF and their perfumers brought new opportunity for expert perfumers from those areas to showcase their craft and to participate in political art.

Pinsky’s commitment to promoting international responsibility for air pollution has translated into a relevance which extends beyond language barriers, demonstrated by international coverage in English, French, German, Spanish, Korean, Italian, Luxembourgish, Portuguese, Japanese, Swiss, Czech, Chinese, Russian, Vietnamese and Indonesian. The sustained, global interest in Pollution Pods results in sustained interest in air pollution and access to commentary about the project is crucial to reaching people who will not have the opportunity to view the pods in person.

Since the initial exhibition in Norway, Pollution Pods has toured to eight different countries and over 30,000 visitors have experienced the sensations of the pods (S6). In each new location, the installation attracts media coverage and engagement. (S7a, b, c, d, e)

Figure 7. Deputy Secretary General of the United Nations Amina Mohammed and Director-General of the World Health Organization Dr Tedros Adhanom Ghebreyesus talk with Pinsky

Figure 8. Greta Thunberg visits the pods

Figure 6. Dr Ghebreyesus' Twitter feed

Pollution Pods has also reached prominent health and climate activist spokespeople, such as Greta Thunberg and Dr Tedros Adhanom Ghebreyesus , Director-General of WHO. Between those two figures alone, 6.3 million Twitter followers were engaged specifically with the challenges and consequences of air pollution in the context of wider climate and health concerns. Pollution Pods even featured on an episode of Daily Planet, a scientific news show aired on and produced by Discovery Channel Canada.

3. Engagement with policy makers

Figure 9. The pods in Madrid

Pollution Pods was exhibited December 2019 in Madrid, Spain concurrent to the COP25 UN Climate Change Conference. It was officially endorsed and opened by Minister for the Ecological Transition Spain Teresa Ribera, WHO Director Dr Maria Neira, and the Deputy-Executive Secretary of the UN Framework Convention on Climate Change, Ovais Sarmad. (S8)

During this time, the pods hosted members of the public and delegates from the conference. Pollution Pods was especially topical to the delegates, as the conference discussed the parameters of the 2015 Paris Agreement and emission targets.

The pods were exhibited as part of Manchester’s 2019 Clean Air Week, a collaborative project between local councils, charities and communities to help reduce air pollution in Greater Manchester and alert the public to health hazards. (S9)

4. Moving forward

As a result of the positive reception and success of Pollution Pods, Pinsky is now working with Professor Stephen Holgate, Medical Research Council Clinical Professor of Immunopharmacology, to create a response to the dangers of indoor pollution through olfactory art. (S10)

1) Fostering understanding and learning through participatory projects

1.1 Enhancing cultural experience and public understanding

The broad appeal of Stockwell’s highly-political work facilitates international touring and exhibition, where the local context is emphasised, for example, the relevance of her work Territory Dress to Dutch audiences when it was exhibited at the Tropen Museum, Amsterdam (S1).

Figure 1. Tropen Museum Website Homepage

Through Boîte-en-Valise: Generator, Stockwell and her co-artists were able to bring emotional comprehension to topics such as political and artistic refugees.

“Art galleries in Cuba closed their doors to me and here I am now, writing on the wall of this gallery, fragments of my story, freely” – Abisay Puente, artist (R4)

These issues are pertinent as many countries, including the UK and USA, erect barriers by enacting policies restricting travel and immigration. By supporting her co-artists, Stockwell and her work helped to empower people disenfranchised by their governments, so raising awareness of this issue in a compassionate and contemplative manner.

Figure 2. Feature in The Guardian

Stockwell was commissioned to create Jerusalem-By-Exit for the exhibition, Should I Stay or Should I Go? which generated national interest and media discussion (S2), challenging visitors to weigh the psychological consequences of Brexit. Stockwell uses the relationship between the private self and wider society as a tool to promote social awareness, such as with her mediations on currency in Trade Winds or the modern relationship with historical colonialism in SEA-MARKINGS.

1.2 Decolonising textiles, museum spaces and collections. Stockwell’s choice of subject matter and material questions colonialization, globalization, trade and migration. Her work has been internationally recognised as part of an important shift in the curation of museum spaces to decolonise their collection (S3).

Figure 3. National Army Museum website

1.3 The Commemoration of Rehabilitation, Reconciliation and Peace. Stockwell’s extensive Peace Maker project, commissioned by the National Army Museum, has toured six regimental museums showcasing the struggles and rehabilitation of the participating soldiers. Throughout the project, Stockwell worked with soldiers to lead them through an exploratory, creative process which helped them build self-confidence, artistic development and personal understanding of their experiences. By focusing on rehabilitation and reconciliation, Stockwell expressed an aspect of the soldiers’ lives which is often not commemorated in artistic works but remains crucial to soldiers living today (S4).

1.4 Incorporating methodology into corporate spaces. Stockwell’s durational project at Pinsent Masons has enabled the company to address a pressing need for closeness and therapeutic outlets in trying times for the 500 staff in their London office. During the pandemic, Stockwell develops methods to continue co-creating, safely and inclusively, providing an important outlet for positive mental health behaviours for staff. The project, which will be displayed in the office when completed, fosters a continued engagement with art and promotes the sustainability of mental wellness and social equity in the workplace.

“Susan brings exciting new perspective to the residency in her approach to sustainability and collaboration” – David Isaac, Chair of Pinsent Mason Art Committee (R2).

2) Nurturing creative culture for a more inclusive society

*Figure 4. Crossan with Brothers in Arms

2.1 Sustained participation and cultural engagement with marginalised groups. With her extensive outreach programmes, Stockwell has empowered many marginalised groups by guiding the artistic progression of the participants, especially those under-represented in artistic spaces . Projects of such extended duration, such as the workshops in Portsmouth, provide life-long skills of making and mending which benefit participants long after completion. Stockwell has influenced participant’s methodology including understanding the importance of collaborative working practice.

“There was a sense of inclusiveness to our sessions despite our wide range of levels and experience” – Michael Crossan, former soldier and artist (S5).

Figure 5. Tweet about Stockwell’s workshops

Crossan is exemplary of the lasting impact of Stockwell’s methodology. Following the Peace Maker project, he has progressed onto leading projects of his own with the homeless and other vulnerable people, using similar practices to Stockwell and encouraging co-creation in art (S6).

2.2 Pushing boundaries and carving spaces for women Her continuing work as a women sculptor who specialises in traditionally feminine mediums such as textiles has earned Stockwell recognition alongside Rachel Whiteread, Maggi Hambling and Louise Bourgeois in the history of women and sculpting in the 2020 book, 50 Women Sculptors (S7a-b). The medium of Stockwell’s sculptures and the subject matter in works like Territory Dress specifically target both the spaces women inhabit and are absent from.