Reimagining the Hydrocommons: Ecological Art Practice as a Collaborative Movement

Artist sTo Len will talk about his interdisciplinary artwork that focuses on place-based collaborations with environmentally abused landscapes and co-creations with communities and municipal agencies. The cross-disciplinary nature of Len’s practice spans printmaking, video, sound, performance, installation, drawing and social practice work, threaded together by a site-responsive process of making.

This talk will take place in the Event Hall at the Muscarelle Museum of Art. Free admission but tickets are required.

This fall, our Muscarelle Explorations series focuses on the transformative power of art in shaping a greener world. As William & Mary celebrates the Year of the Environment, join us to discover how art illuminates environmental challenges, celebrates natural beauty and inspires action for a sustainable future.

ABOUT THE ARTIST
sTo Len is a genre fluid artist with interests in printmaking, installation, sound, video and performance. His printmaking work updates traditional techniques such as Suminagashi (floating ink) and Gyotaku (fish impression) into an experimental collaboration with nature and a site of discourse on environmentalism and art activism. The cross-disciplinary nature of Len’s work has included collaborations with bodies of water, transforming public space into art studios, recycling waste into art materials, and hosting performances at Superfund sites. sTo Len is based in Queens, NY with familial roots in Vietnam and Virginia, and his work incorporates these bonds by connecting issues of their history, environment, traditions and politics. Len was the first artist in residence at AlexRenew Wastewater Treatment facility in Alexandria, VA and is a member of Works on Water, a group of artists and activists working with and about water in the face of climate change and environmental justice concerns. He was most recently the Public Artist in Residence at the Department of Sanitation in NY.

Artist Photo by Vincent Tullo/New York Times