How scientists and artists can collaborate to cut through ‘ecofatigue’ and inspire positive action
Pairing scientists with an artist-in-residence can cut through “ecofatigue” (feelings of overwhelm or exhaustion about environment issues that lead to apathy and inaction), spark emotion and change the way people deal with plastics.
My team and I recently published a study that demonstrated this is a low-cost and feasible way to tackle plastic waste in towns.
In a quiet gallery space in London, visitors paused before 13 luminous coastal scenes. Throwaway bottles bobbed in the surf; snack wrappers frayed into microplastic constellations. Many people left this exhibition determined to change their own habits.
These paintings were part of my team’s project called Trace-P (Transitioning to a circular economy for plastics with an artist-in-residence) which involves turning environmental evidence into compelling art, then measuring what the public do as a result.
Decades of leaflets, posters and worthy campaigns about plastic pollution haven’t shifted behaviour fast enough. Research (including our own previous work) shows that emotion, storytelling and “intergenerational influence” – ideas flowing from children to adults – can outperform dry facts alone. Throughout that previous project, 99% of audiences reported higher awareness, 70% intended to change how they dispose of electronic or e-waste and 65% planned to repair or reuse their belongings more. That success inspired us to test an art-led model for plastics.
The global context is stark. More than 400 million tonnes of plastic are produced each year. Only around 9% of that is mechanically recycled worldwide. A global plan to end plastic pollution by 2040 will require deep shifts in policy and markets to eliminate problematic items, scale reuse and design products that are suitable for recycling.
Art cannot deliver those reforms, but it can mobilise public demand for them.
Our plastics researchers collaborated with a professional artist, Susannah Pal. After interviews and laboratory visits, she produced a series of tragicomic (humorously sad) seascapes. In addition to running public exhibitions in London and Southampton, Pal held an online and in-person drawing workshop for the public.
Visitors learnt about the science of marine litter pathways, microplastics and consumption patterns through powerful imagery that intended to trigger emotion rather than through facts and data. We collected feedback from participants and gallery visitors via on-site in-person surveys, Post-it note “reaction walls” where people could scribble their comments and impressions of the artwork and social media posts by visitors.
Our paper, recently published in the Journal of Cleaner Production, calls this approach “com-art”. This combination of creative skills with scientific evidence can improve communication with the general public and lead to more positive action.
Viewers told us that the artworks educated them about sources and negative effects of plastic pollution. They also said that the art provoked emotions – from sadness to resolve – that helped the messages stick and encouraged them to cut personal plastic use or question throwaway lifestyles.
The feedstock problem
Europe’s plastics system is inching towards circularity via new policies and technologies such as deposit return schemes, but not nearly fast enough. In 2022, circular plastics accounted for 13.5% of new products. EU plastic recycling has essentially stalled, with plastic packaging recycling rates hovering around 40–42%.
Huge amounts of plastic waste are sent for incineration and valuable feedstock (the fossil fuel-based raw materials used to make plastic) is burned instead of being recycled or redirected back into manufacturing.
Public support for reuse, deposit return schemes and better sorting of contaminated waste is the missing multiplier.
Globally, governments are negotiating a treaty to end plastic pollution. To reach its proposed goals, citizens will need to accept refills, returnables and redesigned packaging. Art projects like ours can engage citizens with changes to everyday routines around plastic consumption and disposal.
Read more: How Captain Planet cartoons shaped my awareness of the nature crisis
From inspiration to influence
Cities, schools and museums can start by making art part of their waste strategy. A local artist-in-residence, hosted by a council gallery, museum or library, costs little (a few thousand pounds) compared with large-scale infrastructure projects (that cost millions).
Art projects can help unlock more enthusiasm from citizens for deposit return schemes (refundable deposits for returning containers), reuse pilots or new recycling sorting rules. Artists can jointly create exhibitions with local schools to harness intergenerational influence. You can use short before- and after-project surveys to see what works.
Art interventions often deliver powerful but shortlived boosts in awareness and intent. By reinforcing moments – new shows, classroom projects, hands-on repair events – we can extend this awareness. It is also worth repeating art activities to reinforce messages.
Emotion opens the door to action, and convenient systems keep people walking through it. Exhibitions can be ideal opportunities to recruit residents to refill trials, deposit return collections or school “plastic-free lunch” weeks. These events can showcase possible next steps for people to take through QR codes and sign-ups to activities or maps of refill points, for example.
Plastics touch everything: health, climate, local jobs. Moving to a circular economy will take regulation, redesign and investment and public imagination. Our study shows that artists make the science more legible, memorable and motivating – and this can spark change in communities.
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Ian Williams received funding from UK Research Councils to support this work. TRACE-P was supported by the Engineering and Physical Sciences Research Council’s Impact Acceleration Account (EPSRC IAA 2017-2020). IAAs are strategic awards provided to institutions to support knowledge exchange and impact from their EPSRC-funded research. Ian also acknowledges support from the EPSRC Centre for Doctoral Training in Sustainable Infrastructure Systems (EP/L01582X/1).