Art & Culture

Janavi Kramer: Ocean Artist & Scientific Illustrator, on The Importance of Art in Supporting Ocean Conservation

Janavi Kramer is an internationally-selling Ocean Artist and Scientific Illustrator based in Hertfordshire with a lifelong fascination with the Ocean. Using vibrant and visceral colours, her work emulates a unique quality that showcases the wonders of the Ocean. Her work opens up a window into the world below to inspire connection and empathy for those who look through it. Janavi’s mission is not only to evoke passion in others but to also highlight the threats impacting the marine environment and the species within it.

How did you become interested in both art and scientific illustration, and what inspired you to combine these two fields in your work?

Art and the Ocean have always been elements present in my life. These separate worlds each played a significant role in forming my path, but a few years ago there was a pivotal moment where the two collided.

After my first Ocean dive in 2014, in a matter of moments, the experience turned my world upside down. I was in complete awe of the beauty surrounding me, enveloped in this new alien environment. It was almost like a sensory overload – and from then on I was hooked.

However, even early on in my diving experience, I started to notice a lot of things that I found alarming. Sadly on many occasions, I saw firsthand the impact we humans are having on the Ocean. These moments that began to stack up were a bit of a slow burner. I took time to process it and figure out how and what I could do about it. Looking back now, these experiences, though heart-wrenching, were my catalyst for change. The more I saw, the more I felt something shift inside me and I knew I had to find a way to help protect it. I began a transition into discovering how to use my skills as an Artist to contribute towards the world of conservation. Over the years my work has been fluid and it took a while for me to find my style. Now my work takes form as vibrant and eye-catching species depictions, illustrations or graphics to support science communications and even thought-provoking pieces that spread awareness about the continual destruction of the Ocean and the creatures within it.

Can you describe your creative process when working on a new piece?

For me, every piece is different. But the beginning of every piece always starts with finding connection. Connecting to my work is such a crucial element because I believe that is the only way that the people who see my work will also feel emotionally engaged. Because the work I create can vary greatly depending on the project, this can mean creating life-like qualities to bring a species to life off the page or incorporating thought provoking illustrations that give the viewer an opportunity to stop and think.

The mission behind my work is to showcase the weird and wonderful creatures that exist in our Oceans, to not only educate and encourage others to care for them but to inspire change and action.

What role do you believe art plays in supporting ocean conservation?

For hundreds of years art and science have worked harmoniously alongside one another in a partnership that has given us a greater understanding of the natural world, making knowledge accessible to all. Art is a universal language. It breaks down the barriers of conventional language, education – and even opportunity.

In this modern day, surrounded by rapidly evolving technology, ever-growing cities and booming populations, it’s easy to forget that we are a part of nature. As a species we have come so far with our advancements that this simple fact has been lost somewhere along the way. And as a result, a huge amount of the world’s population is disconnected from nature and the impact we are having on it. Everything on this planet exists almost in a giant symbiosis and every action can send ripples throughout the environment.

With art I hope to help reconnect people back to nature and inspire change and the desire to protect our oceans. By spreading awareness and making science accessible in this way, we can replant the seed of understanding that we are all part of this ecosystem and the destruction of the Ocean is not only an unimaginable tragedy but also has a huge impact on our existence. Part of the responsibility we hold as individuals in the conservation community is to ensure that the educational information, resources and knowledge is accessible to anyone and everyone. If you give people the power of knowledge then we can create change, anything from consumption behaviours, reducing plastic use or even becoming an ocean advocate. At the very least, I hope the work I create can start a conversation and encourage people to engage in the one thing we can’t live without – the Ocean.

Can you discuss a particular project or piece that you found particularly challenging or rewarding, and what you learned from the experience?

A recent project that I found very rewarding was in collaboration with The Shark Trust. I was approached to be a part of Oceanic 31 which brings together wildlife artists from across the world who are passionate about conservation and using art as a tool for positive change to highlight the importance of shark conservation.

This particular piece was very special as the opportunity came just after I had my first experience encountering Scalloped Hammerhead Sharks, a critically endangered species, in the Red Sea. As the stars aligned, it meant that I was able to paint from my own experiences so it will always hold a special place in my heart!

The final result was ‘Deep Connection’, a watercolour painting that illustrates a shiver of Scalloped Hammerhead Sharks swimming overhead. It embodies the sense of connection and understanding your experience when in the presence of these majestic creatures. As apex predators, sharks play a critical role in maintaining the equilibrium in the marine ecosystem. Yet this iconic species, and many other shark species, are disappearing from our Oceans at an alarming rate as a result of human interference. My hope is that my work offers an alternative perspective in which we are able to witness their power and beauty and be inspired to make a positive change and protect this critically endangered species.

What has influenced your work and played a role in shaping it?

For me, there is no better place than to be in the water; so it goes without saying that the Ocean itself is my biggest inspiration! Whether I am above or below it, it fills me with awe and curiosity. I would say diving in particular opened my eyes to the wonders of the Ocean. It is such a unique privilege and experience that it has always given me this feeling that I wanted to share it with others. It is almost like a gateway into this world full of a kaleidoscope of vibrant colours, textures and patterns, and I think the excitement and inspiration I feel underwater is evident in my work.

I am also greatly inspired by the work of marine charities and organisations that are fighting tirelessly and against the odds to protect our Ocean. Part of my mission is to support their invaluable work through donations, collaborations and spreading awareness of their work. I am incredibly proud to have previously worked with the likes of Natural England, The Shark Trust, the Manta Trust and many more and hope to expand this list in the near future!

What advice would you give to aspiring scientific illustrators or artists interested in incorporating science into their work?

I would strongly urge anyone with that passion to push towards it. It’s not always an easy journey but there are many like-minded people within this community that will either support you or join forces with you. On my journey, something that I have learnt is that if you are truly passionate about something, it becomes almost infectious to others around you! We are in a time where the power of storytelling has never been more crucial. By helping to give a voice to the ocean, through art, science or advocacy, we can make a difference and perhaps one day your journey to save the ocean will be a story that will inspire others to try!

What do you hope viewers take away from your art, and what impact do you hope to have on the broader field of science communication?

What I don’t want is for my art, years long after I’m gone, to be considered as a documentation of the magical and mythical creatures that once lived amongst our oceans. I truly believe there is still the opportunity to make a change and even recover some of what has been lost.

Unfortunately there are now countless threats impacting our Oceans; almost all of which stem from human interference such as habitat degradation, plastic and noise pollution. We are living at a pivotal moment in history where if we do not act now we will witness not only the extinction of many vital marine species and unique ecosystems but also the detrimental impact it will have on our existence too.

By merging the worlds of art and science, we create accessibility and we open up the conversation to a much broader audience. It’s easy to forget within the ocean science community that what is common knowledge within this space, is not necessarily the case in the wider world. For this reason, I hope that my work inspires individuals and communities to feel empowered by knowledge and create the opportunity to respond and take action.

To see more artwork and support her works please visit:

Website: www.belowandbeyondart.co.uk
Instagram: @Belowandbeyondart
Facebook: /belowandbeyondart
Twitter: @Janavi_kramer

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Related Topics:art & culture Artwork marine conservation ocean conservation

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Art & Culture

Sixteen days in Tunisia

*Bab Al-Bhar, the historic Sea Gate of Tunis, once opened directly onto the Mediterranean. Today, white colonial buildings stand where water once lapped at the city walls.*

Tunisia is named after Tunis. Not the other way around. If the country takes its name from the city, then any attempt to understand Tunisia must start in Tunis.

Before reading any further, look at a map. You must appreciate the exceptional location of Tunis; only then does the city make full sense. Historically, Tunis was little more than a compact nucleus pressed in the strip of land between the Séjoumi lagoon (a flamingo sanctuary) and Lake Tunis, once the natural harbour. Everything that now feels expansive, avenues, neighbourhoods, infrastructure, rests on land reclaimed from water. Bab Al-Bhar, the Sea Gate, crystallises this transformation: standing there today, flanked by white buildings, you have to imagine the water once visible straight through the gate. The city quite literally stole land from the sea as it expanded.

That tension between land and water, between natural geography and human intervention, repeats itself everywhere in Tunisia. An artificial peninsula appears in the ancient harbours of Carthage. Salt lakes replace vanished seas in Chott el Djerid. Urban coastlines are pushed back, fortified, paved over. Today, the landscape bears the marks of centuries of negotiation with water, sometimes reverent, sometimes violent. But let’s stay in the capital for a moment.

Visiting the medina (old town) on a Sunday, when most souks are closed, made the architecture audible. Without the commercial noise, proportions, light and texture take over; the business-day buzz is thrilling, but silence teaches you how the city breathes. That quiet also sharpens your attention to thresholds. And then the beauty of the doors hits you. Again and again. Painted, carved, symbolic, they demand to be read, often concealing unexpected worlds behind them. In the medina, access is never guaranteed: museums may still be family homes, so you knock, you wait and someone might let you in. Knowledge survives through generosity. This constant negotiation between private and public space explains why repurposing feels so natural here. People inhabit ancient burial sites, former shrines become cafés and even the old slave market has transformed into the jewellers’ quarter; history reused rather than erased. The twenty madrasas scattered through the medina embody this logic perfectly: still embedded in daily life, neither fully public nor entirely private, their doors test your luck. Finally stepping inside one felt unreal, courtyards opening suddenly, tiled interiors that seemed imagined rather than constructed. I honestly felt I was dreaming.

But don’t forget to look up, as architecture constantly communicates power, belief and belonging, often far more than we initially perceive. The green-tiled domes signalling burial places, the octagonal or patterned motifs minarets proclaiming variants of Islam (Ottoman and Almohad respectively) or the colour codes identifying hammams and barber shops all speak a visual language that locals instinctively read. In Tunis, belief is never private, it is inscribed into skylines and façades.

That inscription extends inward. Mosques feel less like austere institutions than wellness centres, spaces of rest, learning and calm. Mats are placed against ancient columns to shield people’s backs from the cool marble. I even witnessed people nap inside Al-Zaytuna. So much peace that you can sleep. How do churches compare?

*The courtyard of Al-Zaytuna Mosque in Tunis, built in the seventh century with repurposed Roman columns. The Great Mosque remains the spiritual and commercial heart of the medina.*

Al-Zaytuna itself is the city’s anchor, the Great Mosque. The souks grew around it, originally as little more than rented awnings, now covered streets wrapping commerce around devotion. You walk through trade and suddenly stumble into the sacred. Built in the seventh century, shortly after the Islamic conquest of Byzantine Africa, the mosque stands on layers of belief. While it is likely that a temple existed here since antiquity, legend says it was built on the shrine of Saint Olive of Palermo. “Zaytuna” means olive, in Arabic and in Spanish. Language preserves memory even when stones are repurposed. Indeed, the entire prayer hall is held by a forest of Roman columns and capitals, older worlds literally supporting newer ones.

As a Spaniard, Tunisia had many a surprise in store for me. Rue des Andalous reveals one of Tunisia’s most consequential migrations. During the Middle Ages, much of Spain was Muslim. Forced conversions, expulsions and finally the mass expulsion even of Moriscos (former Muslims converted to Christianity) in 1609 drove tens of thousands across the sea. Spain was Al-Andalus in Arabic and so these Spaniards became known as “Andalusians”. Large numbers settled in Tunisia, founding neighbourhoods and entire industries. That legacy is not abstract. Chechias, the characteristic red felt hats associated with Tunisois men, were produced using techniques brought by Andalusian refugees. By the nineteenth century, chechia makers were among the wealthiest and most influential merchants in Tunis. The Tunis souks where you can still watch them work are living archives of forced migration turned cultural inheritance. Indeed, the link with Al-Andalus is still emotionally present. Several people called me “cousin” when I told them I was Spanish. It did not feel metaphorical. It felt familial. Spanish presence resurfaces repeatedly: forts at La Goulette, inscriptions in Castilian, Andalusian refugees founding towns like Testour, where the mosque clock runs backwards (‘anticlockwise’) like Arabic script. Jewish and Muslim Spaniards built whole towns together after fleeing persecution. They brought urban planning, architecture, food and memory.

*The ribat of Monastir, a fortified Islamic monastery, now separated from the Mediterranean by a modern coastal road. The ancient fortress once stood directly on the beach.*

Non-human animals are also everywhere if you know where to look, silently narrating human history. Today, cats dominate Tunis, lounging, glamorous, fully at home in the city. But North Africa was once also home to another feline: lions, ultimately erased from the landscape by hunting. At the Bardo museum, Roman mosaics celebrate them while also depicting their mass slaughter in amphitheatres. Venationes (gladiatorial hunting shows) paved the way to extinction long before modern poaching. Rome’s “games” were ecological disasters disguised as entertainment. El Djem boasts the third largest amphitheatre in the world, an uncomfortable reminder that the spectacle of violence against animals became industrial. Birds, too, mark survival. Storks now nest on electrical poles, thanks to recent conservationist efforts, and the ancient castle on the artificial Chikly island in Lake Tunis is now a natural reserve for over fifty-seven species.

Water management reveals another continuity of power. Ancient Carthage was defined by water engineering. Artificial harbours, commercial and naval, remain legible after 2,200 years. Aqueducts carried water across vast distances; cisterns stored enough to sustain one of the Mediterranean’s largest cities. Fresh water was sacred. Springs, such as that at Zaghouan, were divine. Nymphs were believed to guard the source so temples rose where water emerged from the rock. But human transformations of the landscape sometimes rival natural phenomena. Chott el Djerid, now a salt desert, was once part of the Mediterranean Sea. When geological shifts cut it off, the water evaporated, leaving salt behind. The salt is now actively extracted and shipped north, sold to Scandinavian countries as grit to combat icy roads. At the same time, visions of reversing this desiccation persist, from colonial-era schemes to the revival of the “Sahara Sea” project in the 2010s, approved by the Tunisian state in 2018. Coastlines have also been shaped by humans. Hammamet’s medina once met the waves directly. Boulders and walkways intervened. Monastir’s ribat once stood on the beach before roads severed it from the sea. Sousse’s medina now violently cut away from the Mediterranean. Tunisia has never stopped imagining how to reshape water.

The medina walls of Hammamet meet a rocky breakwater constructed to protect the coastline. Where waves once touched ancient stone, boulders now buffer the historic town from the sea.

A fisherman wades through the ancient Punic harbours of Carthage, still in use after 2,200 years. The artificial basins, once home to Carthaginian naval and merchant fleets, now serve local fishing communities. — The medina walls of Hammamet meet a rocky breakwater constructed to protect the coastline. Where waves once touched ancient stone, boulders now buffer the historic town from the sea.

Just as water and animals shape human settlement, so too does climate. Again and again in Tunisia, habitation reveals extraordinary adaptation to environment. At the ancient site of Bulla Regia, houses were built partly underground to escape heat, flooding interior spaces with light while sheltering them from extremes. At Matmata, troglodyte dwellings carved into the earth have stabilised temperature in a harsh desert landscape for centuries. At Zriba Olia, a town only abandoned decades ago, Amazigh (Berber) architecture merges seamlessly with mountain rock: the house ends, the mountain begins. Even the Roman theatre at Dougga takes perfect advantage of the mountain’s elevation. These are not picturesque oddities; they are intelligent, time-tested responses to landscape. But changes aren’t always benign, especially when colonial brutality is concerned. In Carthage, Roman policy deliberately buried, erased and levelled the Punic past on Byrsa Hill. Centuries later, French authorities turned amphitheatres into chapels, erected cathedrals atop Punic acropolises and even built a farmhouse on the Roman capitol at Oudna. Layers of civilisation were literally crushed to assert dominance. The irony is that archaeology eventually resurrected what imperial ideology tried to annihilate.

An underground villa at Bulla Regia, the ancient Roman city where homes were built below ground level to escape North African heat. Roman columns frame a sunken courtyard still preserving intricate floor mosaics.

A traditional troglodyte dwelling in Matmata, where Amazigh families have carved homes into the earth for centuries. The sunken courtyard design provides natural climate control in Tunisia's arid south. — An underground villa at Bulla Regia, the ancient Roman city where homes were built below ground level to escape North African heat. Roman columns frame a sunken courtyard still preserving intricate floor mosaics.

Language binds all of this astonishing diversity together. Phoenician (Punic) script underpins our Latin alphabet. Tifinagh survives among Amazigh communities. Writing systems are fossils of contact. Even humour reveals linguistic layering: Tunisians seem to have the worst, and best, wordplay, producing gems like “Pub-elle”, “Bar Celone” or “Mec Anic”, jokes cleverly built on French that land perfectly in Tunisian streets. Religion, too, refuses neat boundaries. Phoenician deities merge with Egyptian, Persian and Roman gods. Judaism flourished in North Africa from antiquity and remained deeply rooted in Tunisia until the twentieth century. Christianity arrived early, fractured into multiple denominations and left basilicas, cathedrals and martyrs’ narratives across the landscape. Islam absorbed, adapted and reinterpreted what came before. Syncretism is not the exception here, it is the rule.

By the end, what remains clearest is this: Tunisia is not a palimpsest with erased layers. It is an accumulation where nothing disappears entirely. Former seas leave salt. Empires leave infrastructure. Migrations leave words, recipes, and cousins!

Sixteen days is nothing.
And it was everything.

Written by: Fernando Nieto-Almada

ABOUT THE AUTHOR

Fernando read History at university in London and Paris and currently teaches Languages. You can follow him on Instagram here.

Art & Culture

“Patagonia National Park,” Book by Rewilding Chile

Patagonia National Park is one of Chile’s most important ecological restoration or rewilding projects. It consists of the former Tamango and Jeinimeni reserves and the Chacabuco Valley, a sector that was donated by Tompkins Conservation to the State of Chile in 2018 and which was formerly one of the largest cattle ranches in the country.

To highlight and celebrate the work done in the Aysén region, where today the community can enjoy and connect with this protected area, where species and ecosystems are gradually regaining their place, the book “Patagonia National Park” was published.

The book’s photographs and stories are dedicated to the diverse landscapes of Patagonia National Park, encompassing forests, glaciers, and steppe, as well as the park’s wild inhabitants and the efforts being made to recover healthy populations of endangered species such as the huemul, rhea, puma, and Andean condor. Most of the images are by the prominent photographer Linde Waidhofer, while the texts were written by various personalities such as Yvon Chouinard, founder of the outdoor clothing brand Patagonia, a close climbing friend of Douglas Tompkins; environmental figures such as Marcelo Mena, and Juan Pablo Orrego, as well as the words of former president Michelle Bachelet, in the prologue.

In the summer of 1994, while Douglas and Kristine Tompkins were traveling through Patagonia, marveling at the beauty of the Aysén steppe, they camped on the banks of the Chacabuco River: “We imagined that such an extraordinary place should be protected forever; it was like nothing we had ever seen before,” said Kristine, co-founder of Rewilding Chile, at the time. Twelve years later, with the President of the Republic, Michelle Bachelet, she signed the decree to create the Patagonia National Parks Network, a public-private strategic vision of ecosystem conservation, which seeks to promote the economic development of local communities based on responsible nature tourism. At this milestone, the creation of the new Patagonia National Park was also announced.

Today, Kristine Tompkins presents to the community a book that brings together profound reflections with beautiful images of the park, which take you on a journey through this area at different moments in its history and give an account of the efforts made to restore this ecosystem. In its 276 pages, it brings together texts by 18 contributors who talk about the geological history of the park, the human settlement of the valley, the infrastructure developed for public access in the park, the change from a cattle ranch into a national park, its rich wildlife, the restoration actions to restore the park, the history of the park, the history of the park, the history of the park and the efforts made to restore the ecosystem.
The book contributes to the conservation of the ecosystem, among other topics.

For Carolina Morgado, executive director of Rewilding Chile, a legacy foundation of Tompkins Conservation, this book reinforces the concept that national parks are the jewels of a country where everyone is welcome. “With this book, we seek to bring the natural heritage closer to readers from different corners of the planet, to raise awareness about how nature can heal when we give it the space to do so,” concludes Carolina Morgado.

“Con este libro, buscamos acercar el patrimonio natural, a los lectores de diversos rincones del planeta, para generar conciencia sobre cómo la naturaleza puede sanar, cuando le damos el espacio para hacerlo” Carolina Morgado, directora ejecutiva Rewilding Chile

About the park

Patagonia National Park covers 304,000 hectares, where the former Lake Jeinimeni National Reserve and the former Tamango National Reserve were merged with the lands of the Estancia Valle Chacabuco, donated by Tompkins Conservation.

The most important features include the plant formations of the Patagonian steppe of Aysén, which is at its maximum expression in this area. Also noteworthy are the large extensions of Patagonian Andean forests present in the high and foothill sectors associated with bodies of water, which mainly contain three species of the beech genus (Nothofagus): the lenga, the ñire, and the coigüe. Rainfall can reach 200 millimeters a year, producing dense, nutrient-rich forests. These forests are home to 370 types of vascular plants, which are vital to the survival of the surrounding fauna.

Patagonia National Park is home to and protects the highest levels of biodiversity found in Aysén. All of the region’s native species are present, from Andean condors to guanacos and pumas. The park also protects large tracts of habitat for the endangered huemul, an iconic species part of Chile’s national coat of arms.

DOWNLOAD THE BOOK “PATAGONIA NATIONAL PARK”

Art & Culture

Cultural Heritage Included in the COP30’s Ocean Action Agenda for the First Time

The United Nations Climate Change Conference (COP30) in Belem, Brazil had a
theme of “Forests to Sea” that recognized the interconnectedness of these two vital
ecosystems.

For the first time, in a significant milestone for international climate policy, culture and
heritage was formally recognized within the framework of the UN climate negotiations
under the “Fostering Human and Social Development” axis of the Global Climate Action
Agenda. This inclusion extended to the Ocean Action Agenda, integrating the human
and social dimensions of marine environments into the global conversation on climate
adaptation and use culture-based solutions for climate action.

Five new cultural heritage indicators were adopted as part of the 59 “Belém Adaptation
Indicators” for measuring progress against the Global Goal on Adaptation (GGA). These
indicators measure adaptation implementation for tangible and intangible heritage,
digitization, emergency preparedness, and community engagement, including
Indigenous knowledge and practices.

The new focus emphasizes that the ocean is not only a natural resource but also a
significant cultural space that shapes identities and livelihoods, particularly for coastal
and island communities.

The COP30 Virtual Ocean Pavilion hosted wide-ranging events – 2,500 registrations by
delegates representing 150+ countries fostering dialogue among leading voices
worldwide. Here are four of the art shows that were registered at the COP30 Virtual
Ocean Pavilion.

1. Paradise by Ian Hutton and Selva Ozelli for Lamont-Doherty Earth
Observatory of Columbia University

The Lamont-Doherty Earth Observatory (LDEO) is a world-renowned research
institution within Columbia University’s Climate School, founded in 1949 to study Earth’s
natural systems. LDEO scientists were among the first to map the seafloor, provide
proof for the theory of plate tectonics, continental drift and develop a computer model
for predicting El Niño events. LDEO’s research covers everything from formation of the
Earth and Moon, as well as the movement of carbon and other materials through Earth’s systems from its atmosphere through land via seismic activity, plate tectonics, tree ring
analysis to rivers and oceans to identify climate shifts and changes.

The LDEO’s Forests to Sea themed research and exhibits Art Meets Science for COP30
feature the interconnectedness of these two vital ecosystems through art and science
to encourage the expression of original ideas that have long, and transformative
impact. Professor Steven Goldstein, the Interim Director at LDEO, notes that “Science
and art share many common characteristics. The essence of science is to use our
imagination with observation and logic to comprehend the world around us, how it is,
was, and possibly will be, while art is also the expression of our imagination about what
is, was, or might be.” He has encouraged using art and science together to
communicate to the broad public the critical role of geoscience in our understanding of
how our planet works, which must serve as the basis for finding solutions to the climate
crisis.

Paradise by Ian Hutton and Selva Ozelli – COP30 Digital Ocean Pavilion

Ian Hutton explained the impact of ocean warming on seaslugs featured in his
exhibition at LDEO titled “Paradise” with Selva Ozelli which was registered at the
COP30 Digital Ocean Pavilion “Since 2013, Prof. Stephen Smith (Aquamarine
Australia) and I (Lord Howe Island Museum) have been hosting a Sea Slug Census
program a long-running citizen science project that has spread across Australia, and to
sites in Indonesia and Vanuatu, with more than 4,000 participants photographically
documenting the distribution of over 1,100 species to date. This program uses public
contributions to document sea slug distribution, providing valuable data on how these
seaslug populations are changing due to ocean warming.”

2. Healing Waters by Selva Ozelli for Global Ocean Development Forum

The main “Global Ocean Development Forum” (GODF) for 2025 took place in Qingdao,
China, bringing together nearly 700 guests from 68 countries and regions gathered to
discuss pressing ocean issues, including marine economy, technology, and ecology.
The forum’s agenda addressed a wide range of cutting-edge topics spanning
sustainability, innovation, and more, all in an effort to secure the seas for present and
future generations. An ocean-themed art exhibition was held during this conference at
the Lixian Art Museum, Shandong which featured three paintings from Selva Ozelli’s
“Healing Waters” series that was a registered COP30 Ocean Pavilion event.

The “Healing Waters” art show by Selva Ozelli is a series of exhibitions focused on
environmental conservation and the rehabilitation of threatened water bodies, of the
Chesapeake Bay, which is the largest estuary in the US and a National Treasure. Its
64,000-square-mile watershed encompasses one of the most economically significant
regions of the United States. It is protected by the landmark Chesapeake Bay
Watershed Agreement (adopted in 2014, amended in 2020) that calls for, among other
things, conservation and restoration of the treasured water, sea, and landscapes with
participation from six states – New York, Pennsylvania, West Virginia, Maryland,
Delaware, Virginia, and the District of Columbia.

Unfortunately in the 1970s, the Chesapeake Bay was found to contain one of the
planet’s first identified marine dead zones, where waters were so depleted of oxygen
that they were unable to support life, resulting in massive fish kills including the extinct
Darter Fish which is the focus of my “Healing Waters” series, so we collectively work
towards avoiding marine dead zones in our world.

Healing Waters by Selva Ozelli – COP30 Digital Ocean Pavilion

3. Ocean & River Lovers by Selva Ozelli for Havre de Grace Maritime Museum

The “Ocean & River Lovers” art show by Selva Ozelli, an ambassador to Oceanic
Global is a series of exhibitions presented globally at the United Nations Conferences
and museums to raise awareness about the climate change and plastic pollution crisis
affecting oceans and rivers.

The artwork, which includes paintings of angel fish, and discus fish, draws attention to
how marine life and ecosystems are harmed by warming waters, and pollution.

The show is part of a larger body of work endorsed by the UNESCO Ocean Decade and
cataloged by the United Nations, Tokyo Metropolitan Museum, and Berlin University of
Art.

Selva Ozelli explained why she focused on Amazon rivers’ Discus Fish in her Ocean &
River Lovers exhibition for Havre de Grace Maritime Museum registered at the COP30
Digital Ocean Pavilion “The Amazon River is home to the vibrant, disk-shaped cichlids
known as discus fish (Symphysodon spp.) These colorful fish are native to the Amazon
River basin and its tributaries, where they are typically found in slow-moving, heavily
wooded areas. They prefer warm, soft, acidic, and highly oxygenated clean waters.

Discus fish thrive on a diet rich in protein, which they forage in their specific habitats.
However, their delicate ecosystem is under threat. Climate change and the ongoing
deforestation of the Amazon directly harm these beautiful fish by destroying their
habitat, reducing their food sources, and ruining their breeding grounds.“

Ocean & River Lovers by Selva Ozelli – COP30 Digital Ocean Pavilion

4. NY’s Lighthouses by Semine Hazar and Barbara Todd for National
Lighthouse Museum

The “NY’s Lighthouses” series is by oil artist Semine Hazar and Hudson Valley
photographer Barbara Todd that celebrates Lighthouses of New York, the birthplace of
the US environmental movement, which are recognized landmarks with symbolic and
aesthetic qualities, including distinct architectural characteristics located in picturesque
settings.

The exhibition highlights important aspects of the region’s past, capturing New York’s
coastal landscapes and maritime history, as once these lighthouses played a crucial
role in the region’s maritime history, guiding ships and enabling trade and transportation.
And its adaptation to technological advances with a strong connection to the Hudson
River School, America’s first art movement, which celebrated the beauty of New York
and its surrounding landscapes that are an integral part of ongoing preservation efforts
the National Lighthouse Museum is actively involved in.

NY’s Lighthouses by Semine Hazar and Barbara Todd – COP30 Digital Ocean Pavilion