Our society is unsustainable. Right now we're in the throes of late capitalism, looming energy and materials crises, and catastrophic climate change. While it's important to acknowledge that these are systemic problems that won't be solved by individualist solutions, it's also important for me to align my work to my conscience and material availability in a challenging future.
As an artist who frequently works digitally, I've been hugely inspired by ideas like permacomputing. Computing and bandwidth may become untenably expensive in the future, and already is in some places today. With that in mind, I'm reducing how much bandwidth is needed to view my work. I use limited color palettes and smaller resolutions, employ dithering when needed, and optimize my files to be saved at smaller sizes. This is both practical, but also results in some unique aesthetic limitations that have guided my art for a couple years now.
I've also made it a practice to buy used computers and devices wherever possible, stepping out of the upgrade and update rat race. While I haven't fully extricated myself from Apple and Adobe for very practical freelance-related reasons, I rely on them far less than I used to — hopefully making their hardware and software last much longer than intended.
While much of my work is made digitally, it's usually meant to be printed at some point. My prints, cards, and zines are printed on paper and will eventually deteriorate and disappear. I avoid plastic in my packaging when possible. While I haven't found a perfect solution — the paper industry is rife with environmental abuse — I am happy with the trajectory of these changes.
The advent of AI has renewed my resolve to incorporate traditional media back into my digital work, and vice versa. I often scan physical materials and textures to add into digital work, and am finding ways to bring my digital drawing back into collages and paintings. While the traditional side of my art is largely collage, acrylic paint, graphite, and gilding, I've begun experimenting with more environmentally sound alternatives to acrylic paint and PVA glue.1
Beyond the actual medium and methods of my work, I've considered its stewardship and usage long after I'm gone. All of my art (except for client work) is licensed under Creative Commons so that non-commercial uses of my work are free while ensuring that archivists aren't hindered now or in the future.
Finally, for the gearheads out there, here's a list of tools I currently use to make my work. Your mileage may vary, and most of these can be swapped out for other brands, but I find it it handy to help me remember what I bought. I've linked to ones that I find particularly useful!