The Lost Planet

Resi-crete, resin, acrylics on canvas
Diameter 100 cm, Mixed Media

The richness of both North and South America in Yin and Yang is accentuated by the reflections created by using precious metals. Natalia Kapchuk focuses her attention to the issue of the extraction of oil, the “black gold”. The artwork represents an oil spill that covers the surface of half the Earth’s oceans and coastal waters, changing their bright blue hues to darker sapphires and black.

The colour palette and textures of these two continents are identical in appearance, foreshadowing the eminent depletion of natural resources that give rise to such barren desertic territories.

Resi-crete, metal leaf, acrylics, sand, metallic paint on wood
Diameter 100 cm, Mixed Media

Imagine our planet before the dire impacts of the industrial revolution, a perfect world without the continued abuse of its natural resources. Lost in Blue brings this vision to life. Using an array of vibrant textures and colour patterns, Natalia Kapchuk represents the original virgin beauty of our planet; concealing the unsightly scars of deforestation, omitting the vast plastic islands that litter the world’s oceans and eliminating layer upon layer of smog polluting the atmosphere, we can discover Earth in all its grandeur.

The overexploitation of natural resources tarnishes the beauty of the Earth’s surface, changing its compositional structure, coastlines, and natural colours. It will come a time when humanity will no longer be able to recall the exquisite beauty of our planet. Will we realise what we are going to lose and what has been already lost?

Sand, fermented moss, natural stones, resin, pigments on aluminium
Diameter 120 cm, Mixed Media

Ocean’s DNA is created through a layering technique that combines resins with a variety of natural materials such as fermented moss and sand from the coastline of the Maldives. The artist recreates the ecosystem of coral reefs, bringing to light the physical damage caused by dredging, destructive fishing practices and removal caused by tourists.

Natalia Kapchuk is aware of the pivotal importance of coral reefs for all sea life. Global warming rising ocean temperatures poses a major threat to coral reefs and, through them, to the larger marine community.

Without immediate change and conservation efforts we risk losing our coral reefs already in 2050. With over twenty-five percent of all marine species living symbiotically with the reef and the 850 million people directly benefiting from its existence, the loss would be catastrophic.

Resin, sand, pigments on aluminium
Diameter 110 cm, Mixed Media

The endless waters of the ocean seem calm and peaceful. We see only the surface of our open seas, while their inhabitants remain unknown to us. Indeed, ocean life is rich and diverse; while numbers of species are yet to be discovered, human intervention and industrial growth are killing many species before these are even revealed.

Over the past 40 years, pollution caused the population of marine species to decrease by an astounding forty-nine percent. The increased level of carbon dioxide and acidity within ocean waters notably led to the destruction of marine organisms like coral, molluscs, and plankton. Extractive industries and the pollution of coastal territories have additionally caused irreversible damage on ocean’s ecosystems.

Metal leaf, acrylics, resi-crete, natural crystals, diamond dust, glass, resin on aluminium
Diameter 100 cm, Mixed Media

Human activity continues to drastically worsen global warming. Primarily, the burning of fossil fuels and the increased trapping of greenhouse gasses, has brought about dire changes to our climate, affecting even the most remote areas of our planet. The region of Antarctica is a prime example of the developments imposed by climate change. More distinctly, the polar ice caps. With Arctic Sea ice receding at a rate of almost thirteen percent per decade, the oldest and thickest ice in the Arctic has declined by an astonishing ninety-five percent.

The melting of polar ice consequently causes sea levels to rise as well as global temperatures to fluctuate. The 2019 occurrence of breakoffs on the Ross, Larson, and Amery ice shelves in Antarctica, focused the attention of the artist to the status of these glaciers in the polar region.

In the work The Vanishing Antarctica, the artist uses natural crystals, diamond dust, and resi-crete to produce a glacial effect. Metallic leaf is also used to draw focus to the thinning layers of ice.

Gold leaf, resi-crete, diamond dust, acrylics on wood
Diameter 120 cm, Mixed Media

The Planet Made of Gold is one of the key pieces of The Lost Planet series and a perfect introduction to the artist’s practice and research. This work is dedicated to the World’s Oceans and their endless waterways, supporting all life on Earth, sadly heavily polluted with plastic waste. Their crucial importance for our life is underlined using precious gold leaf to symbolise their value and central positioning for our existence.

Bronze leaf, resi-crete, pigments, diamond dust, acrylics, natural glitters
Diameter 120 cm, Mixed Media

The Winner Takes it All is almost completely covered with bronze leaf. Bronze has been widely used as a means of exchange in the form of coins from as early as the fifth century BCE.

From the beginning of the 21st century, developed countries started slowing down their use of cash and coins, transitioning to credit cards instead. As a result, Bronze, from being widely used was almost withdrawn from circulation. The same approach is often used with other resources, for instance fossil fuels, exploited without thinking that their availability will come to an end.

Gold leaf, resi-crete, pigments, diamond dust, acrylic paint, natural glitters
Diameter 120 cm, Mixed Media

The ecosystems of the Earth are all interconnected as nature is in constant communication with itself. An ecosystem is defined as a biological community where flora, fauna, and other beings, in relation to weather and landscapes, harmoniously work together to form all the necessary factors for life. Likewise, all organisms, including humans, have ecosystems living within and surrounding them, dependent upon aspects, either directly or indirectly. Such a rich fusion of transmuted information is the inspiration behind artist Natalia Kapchuk’s art piece Gilded Planet.

Covered in a vail of gold leaf, incorporating elements like pigments, natural stones, and resi-crete, Kapchuk’s piece Gilded Planet depicts the wealth that is the Earth’s biotic and abiotic factors, like plants, animals, rocks, and various climate zones.

Sand, gold leaf, metallic acrylics on aluminium
Diameter 120 cm, Mixed Media

The artificially created land masses of Palm Jumeirah, Deira Island and Palm Jebel Ali on the coast of Dubai are the inspiration behind Man-made Island. Here, Kapchuk replicates the structure of Palm Jumeirah’s coastline using real sand gathered from the Dubai deserts during her travels. Rather than using the obvious bright turquoise for the Island’s marinas, the artist plays with differing shades of gold, which has long been a symbol of the United Arab Emirates.

Dubai’s landmark, Palm Jumeirah, show us how humans can dramatically change the original structure of the planet, notably by increasing Dubai’s shoreline by 520 km.

Siberian bark, natural crystals, metal leaf
Diameter 120 cm, Mixed Media

The rich hues of green present within the piece Russian Wildfires, reflect the central role of forests and timber, one of the main natural resources from Natalia Kapchuk’s birthplace.

Nearly fifty percent of Russian territory is covered by dense coniferous forest, more than a fifth of the world’s entire forest population.

Illegal logging is unfortunately widely spread, generating uncontrolled rural fires that try to cover the phenomenon. Increasing market demands for resources in countries like China, Southeast Asia, and the UK are bringing illegal deforestation to an all-time high. 10 billion hectares of forest areas were destroyed in 2019 alone.

According to Mark Parrington, senior scientist at the Copernicus Atmosphere Monitoring Service, arsons in the remote Siberian region of Yakutia in 2020 released roughly as much carbon dioxide as did all the fuel consumption in the country of Mexico in 2018.

Acrylics, dry flowers, moss, resi-crete, sand, diamond dust, natural stones, resin
Diameter 120 cm, Mixed Media

Amazonian rainforests are one of the world’s lungs, making up about nine percent of the world’s oxygen production. Humanity simply cannot bear the loss of this lush green forests.

In 2019, the Amazon rainforest suffered a loss of nearly 906,000 hectares (2,240,000 acres) due to deforestation and wildfires. Even immediate intervention could unfortunately be already vain and late at this rate. The heart of the continent that is the Amazonian Forest is for this made up of green moss, directly symbolizing life, while the silhouette of the South American mainland is laid out with delicate dried flowers that represent fragility.

Volcanic sand, resi-crete on wood
Diameter 110 cm, Mixed Media

The world has seen a surge in natural disasters: increase in the number of earthquakes, hurricanes, and volcanic eruptions are only a few examples. This can be seen as a sign of the nature’s strength; it can’t be ignored any longer; It almost feels that her patience might have arrived at the end.

With Hidden Power, Natalia Kapchuk creates the illusion of a “target”, where the centre point hides a constant threat. The artist here pushes us to reflect about the consequences of our behaviours and how the planet can respond. A volcano created with real volcanic sands and ashes from Stromboli’s volcano epitomizes this all, a continual menace to the inhabitants of the islands, yet an incredibly fascinating and beautiful creation of nature.

Resin, diamond dust, sand, acrylics, spray paint on wood
Diameter 110 cm, Mixed Media

The uniqueness of landscapes like the windblown desert dunes and the depth of caverns, reveal the rich history of their formation. Stratigraphy, the study of rock layering, can unveil processes that took place millions of years ago, telling the story of planet Earth, together with ours.

By placing an arid rocky terrain into the middle of a body of water, Kapchuk juxtaposes the value held in all established ecosystems. Showing that even in environments without an excess of moisture, beauty and life is still present. In Virgin Rocks, 3D replicas of rock formations composed of several thin layers of wood composites are combined with sand and sprinkled with diamond dust. This method brings the artwork out of a flat plain and despite the calmness shown in its colour scheme, the harmony of flora with the rocks is highlighted.

Resin, single use plastic, pigments, dried fish, fish bone, LED lights
Diameter 100 cm, Mixed Media

The combinations of plastic waste and oil in our oceans are destroying the creatures that live in these waters. The devastating impact plastic and oil have on ecosystems can be traced through several different interrelated facts. For instance, the creation of plastic uses as much oil as the aviation industry. As a result, by the end of 2015 the plastic industry took up roughly eight percent of all oil production, with a projected rise to twenty percent by the year 2050. Unfortunately, nearly eight million tonnes of plastic leak into the Earth’s oceans every year, along with approximately 706 million gallons of resulting waste oil.

The presence of plastic and toxins can be found within animals throughout the world’s food chain. With only fourteen percent of plastic packaging sent for recycling, an estimated forty percent of all global packaging material is placed in landfills, which is then leaked into the environment. Oil waste furthers environmental problems with the greatest damage caused, not by accidental spills and leaks, but by chronic and careless habits of improper disposal of used motor oil.

Diameter 120 cm, Mixed Media

Personalized augmented realities and unrestrictive virtual worlds are only just a few of the byproducts witnessed in the ever-evolving realm of technological advancements. Given such progressive technologies, the questions posed are: what does the future hold as the 21st-century fully transitions into the digital space? Will such developments bring forth peace to our declining planet? Or will anthropogenic impacts continue to thrive undeterred?

As the lines between the physical and digital world increasingly blur, artist Natalia Kapchuk expresses this sentiment in her piece, Simulated Earth, symbolically portraying a world overtaken by AI and VR technologies. Creatively depicting our planet, the artist utilizes reclaimed and repurposed LEGO and microchip elements to construct the world’s continents. The LEGO pieces represent the human ability to build and design settings with the Herculean power of imagination while the use of integrated circuits evokes the modernization of future societies and underscores their significance in today’s growing tech.

Intentionally, Kapchuk positioned these unique elements atop an unilluminated black backdrop, dually illustrating the blank canvas that is one’s personalized world and the unfortunate destiny of our planet’s oceans and waterways— exasperated by destruction and riddled with plastic and chemical pollution; void of life.

Resin, single use plastic, LED lights, LEGO elements
Diameter 100 cm, Mixed Media

The world’s land and waters are full of plastic waste. While mountains of debris fill the Earth’s surface, our oceans are sadly home to a similar phenomenon. The famously titled, “Great Pacific Garbage Patch”, for example, is a collection of marine debris in the waters of the North Pacific. When plastic created on land finds its way into our waterways, an increased amount of macro and micro plastics become present within microorganisms and animals in our waters and, ultimately, people themselves. Since 1950, Humans have produced more than 8.3 billion tons of Plastic, when the industrial production of synthetic materials commenced.

The LEGO World unveils what lies hidden at the ocean floor. Using sonar technology, scientists have discovered thousands of massive craters along the bottom of the Pacific Ocean, most of which are filled with plastic waste and debris.

Resin, single use plastic, LED lights, LEGO elements
Diameter 100 cm, Mixed Media

The crisis of plastic waste has reached unprecedented levels. Within the United States, the amount of plastic waste per person alone is an astounding 106.2 kg per year. In 2015, the US Environmental Protection Agency (EPA) estimated the total number of municipal waste at 262 million tonnes, thirteen percent of which is plastic. Only twenty-five percent of this amount is recycled.

In American Dream, Kapchuk explains how plastic waste is distributed across the continents, wreaking havoc to seas in the process. American Dream is composed of the wrappers of well-known brands of candy and chocolate bars, bags of salted snacks and chips, items of plastic cutlery, cosmetic packaging — all popular consumer brands used in everyday life. The continents of North and South America are crafted using the popular LEGO interlocking bricks.

Resin, single use plastic, LED lights, PLA filament
Diameter 100 cm, Mixed Media

Globally, more than 2.1 billion metric tons of municipal waste is generated each year around the world, but only sixteen percent is recycled. In 2019, a Guardian investigation found that hundreds of thousand tons of US plastic are shipped every year to poorly regulated and mostly underdeveloped countries. Last year alone, the equivalent of 68,000 shipping containers worth of American plastic set for recycle were exported to developing countries, who themselves, mismanage more than seventy percent of their own plastic waste.

While China made the decision to close its doors to the importation of American waste, it reigns supreme as the largest producer of plastic waste, generating nearly 60 million tons or twenty-seven percent of international municipal solid waste.

Unravelling the web of garbage led by the United States and other world power leaders, Natalia Kapchuk researches the impact placed on poor developing countries and the effect garbage exportation has on their people and the entire ecosystems at large.

Resin, single use plastic, LED lights, acrylic sheet
Diameter 100 cm, Mixed Media

The year 2019 brought forth fires that ravaged the surface of the entire planet, from Alaska to Australia. All climate regions, from tropical to arctic, felt the force of this deadly element.

Thanks to technological innovations, new satellite monitoring tools implemented in space have made both the mapping and tracking of wildfires easier. The European Space Agency (ESA) for example, updated their tools for tracking fires through a system called the Sentinel-3 World Fire Atlas. In addition, The National Aeronautics and Space Administration (NASA), is similarly closely working with the online platform Global Forest Watch Fires (GFW Fires). In 2019, in the week 15-22 July, a whooping 782,366 fire alerts were sent via email to its subscribers. During that seven-day period, alerts were sent out to subscribers in Russia (178,484), the Democratic Republic of the Congo (136,087), Angola (109,512), and Zambia (52,801).

Fire is also often used for burning waste. Waste burning emits a significant number of dangerous carcinogens like dioxins and furans that push climate change ahead, increasing the melting speed of the polar regions due to soot and black carbon deposits.

Metal leaf, diamond dust, gold glitters, barrier tape, acrylics on wood
Diameter 120 cm, Mixed Media

45th President of The United States, Donald J. Trump’s announcement to withdraw from the Paris Climate Agreement back in November 2019 encouraged Natalia Kapchuk to create The Lost Planet series. The controversial decision alleging protections for American industries and its working population, was the shock heard around the world. In the wake of 199 other countries having signed the agreement, marked the United States as an environmental outcast, cosigning support for further extraction of natural resources and the release of unregulated greenhouse gas emissions into the Earth’s atmosphere. While countries take measures to preserve the most precious amenity mankind has, sadly, the U.S. will retain measures to preserve only what they consider of most importance — capitalism and the state of the economy taking precedence.

Paris Climate Disagreement is expressed by a combination of factors within the piece. The non-standard use of the United States’ traditional tricolor palette is displayed across the American continent. Mimicking that of a brutal crime scene, the entire art installation is enclosed with yellow barrier tape, baring warning for the rest of the world’s markets. Optimism is not lost in the eye’s of the artist, as she understands, beyond the borders of the United States, the planet has a chance to slow the eminent progression of global warming. This point is made but filling the remaining space around the design with a golden palette.

Resin, pigments, resi-crete, metal leaf, acrylics
Diameter 110 cm, Mixed Media

All lifeforms on Earth are dependent on the benefits allotted by our atmosphere — Oxygen more specifically. The state of the air’s protective layer surrounding the planet largely depends on the ozone concentration in the stratosphere. The ozone layer absorbs 97-99% of the dangerous ultraviolet light and radiation expelled by the Sun. However, synthetic chemical substances released into the air because of human activity, destroy the protective atmospheric shield, which leads to the formation of holes in the Earth’s ozone. The most vulnerable spot within the ozone layer is above Antarctica, with diameter that has decreased by more than 1000 km.

Montreal Protocol is an international treaty signed in 1987 by 197 UN member countries designed to phase out the production of ozone depleting substances responsible for ozone reduction. In the artwork, Low Earth Orbit, Kapchuk raises not only the issues of ozone depletion, but also space exploration and the increased number of debris orbiting around the Earth. The artist depicts the ozone layer in bright pink, showing the inconstancies surrounding the Earth’s shield. In contrast, the dark abyss of space and the sparkling iridescence of the cosmos, emphasizes the fragility of our placement within the Universe.

Diameter 120 cm, Mixed Media

The mysteries of outer space are a marvel that has intrigued humanity, dating back centuries with the invention of the telescope and the breakthrough innovations by visionaries like English astronomer Thomas Harriot and Italian astronomer Galileo Galilei. Such progressions further our understanding of Earth's placement within the cosmos. The many advances in science and technology gave birth to tools like the Sputnik satellite and the National Aeronautics and Space Administration (NASA). However, the effects of human activity plaguing the land and ecosystems of Earth extend its destructive reach into the vastness of outer space as well.

Detectors for the Department of Defense's global Space Surveillance Network, or SSN, document more than 27,000 pieces of orbital debris, or "space junk," littering Earth's low orbital area. Such findings prompted the inspiration behind artist Natalia Kapchuk's art piece Low Earth Orbit II, representing the wonders of our cosmos while bringing attention to the growing issue of space debris in low Earth orbit (LEO). As this process continues, it will get to the point that collisions between objects and said debris create a cascade effect, generating more space junk and increasing the likelihood of further collisions, producing an endless cycle of danger.

Resin, pigments, acrylics, polyurethane foam
Diameter 110 cm, Mixed media

Air pollution and decreases in oxygen concentration are globally becoming more dramatic, causing about seven million deaths every year. The burning of fossil fuels such as oil products, natural gas, coal, and wood emit high volumes of black carbon into the airways. The combustion of these archaic energy sources poses major threats to health and to the environment.

Nearly three billion people globally use biomass fuels and open flames, typically for household cooking and heating. A 2015 study by the International Council on Clean Transportation reported that the world’s transport sectors account for nearly one fourth of all CO2 emissions, causing about 400,000 premature deaths worldwide.

From the celestial blue surface of Carbon Clouds, grow white cotton like clouds. For the clouds, the artist specifically uses polyurethane foam — a common household sealing agent, as added commentary on the use of aerosol sprays.

Acrylics, resin, resi-crete, polyurethane foam, plastic on wood
Diameter 110 cm, Mixed Media

In late September 2015, 150 world leaders gathered for the United Nations Summit on Sustainable Development. During this event, leaders sat to approve an agenda for sustainable development efforts, redacting Transforming Our World: The 2030 Agenda for Sustainable Development. Within this agenda, seventeen goals, or SDGs, were set, aiming to achieve balance in society and respectful relations with nature. Among them we find demands to end all forms of hunger and poverty, conscious production and consumption practices, assurance and availability of clean water access, conservative and sustainable use of water resources, forest, and land protection.

These objectives are surely positive guidelines, but they are void without commitment and consistency. People, governments, and corporations alike continue to play a self-serving game. Shown in the Sustainability Wheel, the artist reflects on these hurdles by separating the seventeen SDGs individually. Natalia Kapchuk expresses the challenges the world community has in getting on one accord. With capitalism and self-serving practices placed before humanitarian efforts, how long will it take the world to achieve their stated SDGs? Will the promised 2030 deadline pass us by?

Resin, fermented moss, sand, natural stones, metal leaf, pigments on metal
Diameter 120 cm, Mixed Media

Coral reefs are one of the most diverse habitats on the planet, but since 1985, scientists state that the famed Great Barrier Reef has lost more than half of its coral coverage, placing this marine refuge into a “terminal” state. Many factors contribute to the destruction of coral reefs. In combination: climate change, elevations in sea water temperatures, chemical pollution, changes in salinity and coral bleaching due to rising CO2 levels.

Due to unusually warm water temperatures during El Niño in 2016, underwater surveys of the area have shown mass bleaching of the Great Barrier Reef and many other Western Australian reefs. With water temperatures reaching 32 degrees Celsius, the affected areas experienced a drastic reduction in fish and other organisms who seek shelter in the nooks and crannies of the protective coral. The months of February and March of 2020 brought forth new waves of coral destruction and bleaching, prompting the artist to create Coral Maze. On one hand, the corals shown still have a bright colour, while on the other, separations and breakoffs are prominently noticeable.

Fiberglass, chrome
Diameter 120 cm, Mixed Media

The Himalayan Mountains, also known as the world’s “Third Pole”, store more ice than anywhere in the world outside of the North and South poles. Scientists from the International Centre for Integrated Mountain Development say that at least one-third of the giant ice fields in Asia’s towering mountain range will melt because of climate change. Innumerable rivers are fed by the melting ice in the summer of these glaciers, and the fresh water generated is a vital resource for agriculture and life of the nearly two billion people living in the area. But the increased melting speed is eroding the reserves and causing several dangers such as flooding, electrical shortages and destruction of crops. One-third of these glaciers will melt by the end of the century, even if current efforts to reduce climate change are enacted.

The polished and reflective surface of Ice Shelter brings to life the beauty of a mountain top, while also representing the fragility of the ice caps, very sensitive to light and heat.

Fiberglass, chrome, resin, glitter elements
Diameter 120 cm, Mixed Media

Our planet’s arctic regions are like a frozen oasis, featuring sea ice, coastal wetlands, upland tundras, glaciers, mountains, vast rivers, and the Arctic Ocean itself. Another prominent feature of this frigid terrain is the presence of permafrost. In its simplest definition, permafrost is Earth perennially frozen for at least two years or more, although much of the Arctic’s lands have lain frozen for almost tens of thousands of years.

Given the dire state of our planet and the growing concern of climate change and global warming, studies have shown that a mere few degrees of warming can trigger abrupt thaws of vast frozen lands. Such processes will prompt the release of enormous stores of dormant greenhouse gases contained within the collapsing landscapes. If this occurs, the results of which will be catastrophic for all inhabitants of the surrounding areas and, unfortunately, the world at large.

To bring awareness to this issue, artist Natalia Kapchuk constructed her piece, Altering Tundra (2022), to highlight how humanity’s actions are transforming Earth’s tundra ecosystems. Such activities include the construction of residences and other structures, mines, and roadways. Moreover, hunting, oil drilling, and other activities have polluted the environment and threatened wildlife in tundra ecosystems. The mission of the artist is to underscore the notion that if we as a global society do not implement measures that thwarts such destructive actions and global warming, the planet as we know it will cease to exist.

Wood base, iridescent and chrome paint, plant - based epoxy resin, fiberglass construction
Diameter 110 cm, Mixed Media

The phenomenon of iridescence (also known as goniochromism) is an occurrence where the appearance of certain surfaces gradually alters color, dependent on the viewpoint or as the angle of illumination changes. Such a captivating marvel sends onlookers into a surreal, dreamlike state, irresistible to its transmuted rainbow-colored hues. Examples of said wonder include bird feathers, insect wings, the insides of certain seashells, and minerals such as opals. Moreover, a common observation with iridescence is often witnessed by the combination of oil, water, and light rays on wet roadways and surfaces, for instance.

The dizzying movement and color-changing effect of iridescence are but a part of the inspiration behind artist Natalia Kapchuk’s work, Glacial Iridescence, 2022. The other portion is due to the heartbreaking and continually growing development of oil exploration in the Arctic, as the Arctic contains an estimated 13 percent of the world’s undiscovered oil.

The expansion of oil and gas drilling by greedy, profit-driven companies in the Arctic Ocean may very well lead to tragedies like the spill of BP’s Deepwater Horizon and the Exxon Valdez disaster, contributing to the plague of climate change. The danger also threatens wildlife and communities, creating an invisible threat that could prevail for years, such as toxic substances lingering in ice or water and disruptions to the food chain of the Arctic ecosystem. Structurally portraying that of a polar icecap, the artist vailed her artwork in iridescent pigments, expressing the consequences facing our Arctic regions due to human activity. Such an opalescent appearance draws onlookers into the powerful subject matter behind its creation.

Fiberglass, wood, pigmented sand, flocking (repurposed sawdust), plant-based epoxy resin
Diameter 120 cm, Mixed Media

Throughout the world, extreme weather events have become a common phenomenon as human-induced climate change continues to wreak havoc on the planet. As global developments unfold, it seems as though the Earth is seeking retribution for the mistreatment endured by the hands of those responsible for its protection. Take, for instance, the following: in late June of 2021, scientists reported record-breaking heat waves that swept western North America, resulting in the second-deadliest weather disaster of the year, with 1,037 deaths; 808 in Western Canada and 229 in the northwestern United States. In like manner, in early July, severe flooding battered large areas of western Germany and eastern Belgium, producing torrential rains that caused nearly $43 billion in surrounding damage.

As an artist who examines the latest environmental analyses and reports as an influence for future artworks, artist Natalia Kapchuk turned to the breathtaking Denali Mountain peaks for her art piece, Revenge of the Denali (2022). Deemed the tallest mountain in North America, the Denali, located in south-central Alaska, contains mountain peaks that total an astonishing 20,310 feet (or 6,190 meters) above sea level, thus making the Denali National Park a popular traveler attraction.

However, due to climate change and rising temperatures, much of the ground in Alaska’s Denali is losing its top layer of permafrost, prompting landslides and other geohazards that include: earthquakes, rockfall, mudslides, glacial floods, and ice and snow avalanches. Like all of her art pieces, artist Natalia Kapchuk underscores our responsibilities as Earth’s inhabitants to safeguard and preserve what we as a global society are blessed to call home. Using a combination of fiberglass construction and mixedmedia application, artist Natalia Kapchuk juxtaposes the majesty of Earth’s Denali Mountain ranges with the urgent need for conservation through the implementation of sustainable practices and the power of collective conservation and awareness. Revenge of the Denali (2022) represents Earth’s retaliation to its continued abuse and mistreatment.

Wood base, iridescent and chrome paint, plant - based epoxy resin, fiberglass construction
Diameter 110 cm, Mixed Media

Offering a mesmerizing portrayal of our planet’s oceans and their brilliance, artist Natalia Kapchuk’s Sapphire Sea (2022) presents a mirror of connection within the depths of Earth’s ocean and ourselves, enhancing the self-reflective power of her art with color. Not only employed for its allure, the artist painted her piece in this deep chromatic shade of sapphire blue for the color’s many meanings and properties. This shade is often related to the Heavens, as Sapphire expresses purity, wisdom, and connection. Constructed in her signature technique, Kapchuk evokes these sentiments and beauty of the ocean, underscoring the much-needed protection for the planet’s many waterways.

Fiberglass, chrome
Diameter 120 cm, Mixed Media

The Desert — boundless voids of golden sand, wind struck rock sand dunes, occupy over one-fifth of the world. Together with semi-arid areas, these lands constitute nearly forty-one percent of the Earth’s surface, serving as a habitat for more than 2 billion people and animals.

The search for oil, gas, precious metals, and other natural resources revealed a hidden wealth of these desert territories, which are exploited at an impressive rate. Ecological threats and pollution begin at the forefront of the extraction stage, and continue during the transportation, storage, and processing phase. Human activities are main contributors to desertification in the USA, China, India, Russia, and many other countries; In Priceless Treasure, Kapchuk turns the desert surface into waves of iridescent gold. Like gold, the desertic ecosystem is invaluable.

Fiberglass, chrome, resin, glitter elements
Diameter 120 cm, Mixed Media

Of the many stories recounted in Greek Mythology, one of the prominent tells the tale of King Midas and his unquenchable avarice in search of what he deemed as happiness. Ruler of the country of Phrygia, King Midas had everything one could dream of: power, a towering fortress, a stunning daughter, and immense wealth— and yet, that was not enough. Money was his obsession, with gold being his self-proclaimed source of joy.

One day, Midas, in return for his kindness to Dionysus, god of fertility and wine, was granted one wish, to which he requested that everything he touched turn to gold. Though he achieved his source of happiness, gold, with just the touch of his fingers, regret immediately ensued as he quickly discovered the grave mistake he made. Midas could no longer eat as everything he touched turned to gold. Filled with remorse, he looked for comfort with a hug from his daughter, who herself turned into a statue of gold by his mere embrace.

Inspired by the story of King Midas, artist Natalia Kapchuk invites us to consider and reflect on the consequences of greed and how humanity can be the fuel to its own demise. Employing her signature mixed media techniques, vailed in the luminescent color of gold, the artist directs attention to the irresponsible mining and cultivation of Earth’s resources, such as precious stones and metals, oil, coal, and natural gas. Such abusive actions only accelerate the downfall of our declining planet and all its inhabitants.

Fiberglass, wood, pigmented sand, flocking (repurposed sawdust), plant-based epoxy resin
Diameter 120 cm, Mixed Media

A sprawling sea of sand vailed in an array of rich red and golden-orange hues, the Sahara Desert is considered one of the many wonders of our planet. As the world’s largest hot desert and the third largest desert behind Antarctica and the Arctic, the Sahara Desert covers roughly 9,200,000 square kilometers of northern Africa—comparable to the continents China or the US. Derived from the Arabic noun ṣaḥrā, the word Sahara means “desert.” While the initial thought of any desert is that of barren uninhabitable land, the various deserts of the world are thriving with life! The Sahara, in particular, is home to over 70 species of mammals, 90 species of birds, 100 species of reptiles, and numerous species of arthropods. In like manner, though sparse, approximately 500 plant species are also present within this African desert.

While these facts are intriguing, the vegetation, wildlife, and overall ecosystem of the Sahara Desert suffer immensely from climate change and human activity. These issues include desertification, over-hunting, habitat destruction, elevated temperatures, wildfires, oil and gas production, irrigation for agriculture, poor soil quality, etc.

To bring attention and admiration to the remarkable Sahara Desert, artist Natalia Kapchuk designed the piece Saharan Sands, 2022, paying homage to North Africa’s “sea of sand.” Employing her signature mixed-media applications and techniques, the artist combines fiberglass construction, pigmented sand, and flocked epoxy resin to depict the breathtaking sights of the Sahara. As an environmentalist, it is essential for artist Natalia Kapchuk to articulate actions that we as a global society can implement to thwart the continuation of climate change and protect the region’s embattled fauna and flora!

Wood base, flocking (repurposed sawdust), acrylic paint, fiberglass construction
Diameter 120 cm, Mixed Media

Many factors set our beloved planet apart from other celestial bodies within space. Namely, the capability to facilitate life alone makes the Earth distinctively different from other planets in our solar system. This assured statement is due in part to the presence of water in liquid form on the planet and the existence of oxygen in the protective shield we call our atmosphere. These aspects, and many others, are why Earth reigns supreme. However, one planet giving humanity’s home here on Earth a run for its money is the infamous ’red planet’ and the fourth from the Sun—Mars.

Thanks to advancing technologies, dedicated research, and breakthrough explorations, science continues to discover the growing parallels between Earth and Mars, uncovering the mystery of the unknown. Among such similarities include the pair’s landforms. For example, the Libyan Desert, located in the northeastern part of the Sahara Desert, shares strikingly similar features to the red planet of Mars. Such comparable features came as an inspiration to artist Natalia Kapchuk in the creation of her art piece, Earth or Mars? (2022).

Fusing the deep orange hues of the Sahara Desert and the rusty red color of the surface of Mars, the artist developed a vibrant pigment combination to push the question: is this artwork depicting Mother Earth or the red planet none as Mars? The artist leaves the decision to the observer. The piece reflects the many similarities aforementioned and the importance of Mars’ exploration. Such probes aid scientist in understanding momentous shifts in climate while also searching for signs of life, whether past or future, and so much more.

Wood base, flocking (repurposed sawdust), acrylic paint, fiberglass construction
Diameter 110 cm, Mixed Media

Our planet is home to an extensive plant population with varieties of species possessing the ability to grow and prosper in differing conditions and locations. Whether on land, in the oceans and waterways, or in desert climates, these living organisms are resilient. Even in the extreme weather conditions of Antarctica, Earth’s plant inhabitants thrive in what can be considered adversity. Though the list of places plants grow is extensive, we turn to the ocean and waterways and observe a group of nonflowering plants —algae.

Algae are a plant group usually found in all types of waters, including salt, fresh, and brackish, grouped into two categories, seaweed and phytoplankton. Seaweed are large plants composed of many cells, while phytoplankton are smaller single-celled organisms. Periodically, both seaweed and phytoplankton rapidly grow or ’bloom,’ which is a natural process. However, overgrowths of algae within the Earth’s waters cause the occurrence of harmful algae or algal blooms as they are sometimes referred, endangering human health, the environment, economies, and all Earth’s inhabitant, often producing dangerous toxins and cyanobacteria in fresh or marine waters.

The increase in frequency and severity across the globe concerning algae blooms is due to climatological issues like warming water temperatures, elevated carbon dioxide levels, changes in salinity, rising sea levels, and much more. For these reasons, artist Natalia Kapchuk created her piece Algae Bloom (2022) to bring light to such disheartening developments and to underscore humanity’s need for drastic measures to thwart such concerns of destruction and to bringforth a healthier planet for present and future generations alike.

Gold leaf, acrylic sheet, acrylic paint
Diameter 110 cm, Mixed Media

According to a report published by the International Energy Agency (IEA), power sectors grew at an accelerated rate over the past decade, with CO2 emissions rising to a record high of thirty-three gigatons in 2019. The main sources of energy production and for illuminating the planet are heavily polluting fossil fuels. In the United States alone, pollution from over-illumination produces nearly two million barrels of oil waste per day.

Although the production of light and electricity is imperative, there are many ways of generating them without the harmful impacts to the climate. By gradually switching to renewable energy sources, the plagues of climate change and global warming can be reversed. In the piece, Night Flight, the planet is shown under a shroud of darkness. The colourless of the oceans and seas contrast with the light pollution arising in the continents.

Diameter 120 cm, Mixed Media

Across many civilizations and cultures, various colors represent powerful meanings and symbolism. Take, for instance, the multifaceted color blue. In ancient Egypt, the color blue was considered able to ward off evil spirits, often adorned by Egyptian rulers and Pharaohs as a sign of royalty. Similarly, in Greek antiquity, the Ancient Greeks believed that the impactful nature of blue also had the ability to thwart wicked spirits, providing them with protection and safety. Because of this belief, even in Greece today, it is a custom practice to paint all doors and window frames blue for safeguard.

In her piece, Divine Gaia, artist Natalia Kapchuk displays the world's waterways in rich blue hues complemented by the gold luster of the continents shown. Illustrating the world's oceans in such a way conveys the various symbols the color blue represents; peace, tranquillity, inspiration, freedom, sensitivity, and conservancy. The artist covered the landforms of the Earth in gold leaf to emphasize the richness of our land and the naturally occurring materials produced as a result, like oil, coal, natural gas, metals, stone, and other natural resources.

The intangible quality of blue and the primordial nature of the planet was the key focus in the creation of the Divine Gaia. Though the waters and skies of Earth mirror such a color, it is unattainable—merely visible. To imagine such a world where the beauty and value of our home is unsullied by human intervention is ideal. Unfortunately, this is not the case. Kapchuk expresses the urgent need to
protect our precious ecosystems from destructive forces like plastic pollution, ocean acidification, over-fishing, destruction of natural habitats, poaching, fracking, deforestation, etc., by presenting our shared home as it should be and not how it is today.

Acrylics, pigments, clay, resin, gold leaf, wood
Diameter 120 cm, Mixed Media

The marvels of our planet's oceans inspire awe when we shift our perspective beyond our daily routines. Consider the interplay between the moon and the sun's gravitational forces and their impact on the Earth's surface. Such a natural symphony orchestrates the constant ebb and flow of our planet's waters, giving rise to the dynamic and ever-changing seascapes we see today. These forces contribute to the breathtaking beauty of coastal areas and play a pivotal role in marine ecosystems, shaping the behavior and movement of marine life.

The enigmatic allure and astonishment of Earth's oceans continue to grow as humanity takes steps toward exploration. However, progress has been gradual, with only about 5% of the world's oceans explored, leaving a vast 95% still uncharted. To expand our understanding of the creatures and treasures hidden beneath the waves, protecting these majestic waters is imperative—both the visible and the unseen—as expressed in Natalia Kapchuk's artwork, Poseidon's Shield (2023).

Drawing from Greek mythology and the duality of strength and vulnerability, Kapchuk employs her distinctive mixed-media techniques, crafting her artwork using acrylics, pigments, clay, resin, and gold leaf onto wood. As if a shield for the mesmerizing blue hues that appear below, the commanding gold is shrouded in irony. Though authoritative in its regard, the artist uses gold in a way to symbolize an illusion of divine-like protection while contrasting its true elemental nature as a less suitable defensive force. This dichotomy mirrors the delicate yet commanding nature of the ocean, echoing the paradox of its forceful might yet susceptibility to external influences that can harm its inhabitants and the world at large.

Sand, fermented moss, resin, acrylic paint, chrome paint on wood
Diameter 110 cm, Mixed Media

Earth has a unique way of fusing together seemingly two contradictions into perfect harmony. Among the dry surface of the desert, an oasis can thrive shining as bright as a pearl. An oasis forms by underground aquifers or rivers, with which enough pressure, seep their waters to the desert surface: in an otherwise harsh and unforgiving environment, these natural water sources sustain plant and animal life.

While these fragile ecosystems continue to amaze, they are extremely vulnerable to the negative impacts of climate change. Low precipitations lead to droughts, while decreasing groundwater levels and water scarcity contribute to land degradation and soil salinization. In 2012, the International Union for Conservation of Nature described the preservation of oasis ecosystems as an emerging issue. Scattering the desert territory with cactuses — the main and most common inhabitant of such arid lands, the artist shows the beauty of nature and the importance of preserving an already established ecosystem.

Fiberglass, chrome
Diameter 120 cm, Mixed Media

In the artwork Bubble Hills, Natalia Kapchuk pays close attention to the natural beauty of rivers and valleys. The fertility of these majestic waterways brings to life a rich and diverse flora and quenches the thirst of the fauna. The presence of industrial and agricultural activities, however, is damaging these fresh water sources. The surrealism of these emerald spheres is reminiscent of the geological formation the Chocolate Hills, in the Bohol province of the Philippines. This popular tourist attraction was deemed the country’s third National Geological Monument and has been proposed for the inclusion of UNESCO World Heritage List. Playing with composition, the artist singles out the cobalt riverbed as a key element in the formation of these valleys. This grouping of bubble-like hills symbolizes a jade fairy-tale landscape, imagined in the absence of human intervention. With calls for reducing the negative impacts humans place on the environment, can we still enjoy Earth’s real natural wonders, or will these images live on only in our minds, as fragments of the past?

Wood base, flocking (repurposed sawdust), acrylic paint, fiberglass construction
Diameter 110 cm, Mixed Media

The Taj Mahal of Agra, India, the Chichen Itza Mayan ruins of Mexico’s Yucatan Peninsula, and the ancient city of Petra, Jordan, all retain a coveted spot on the list of the ’Seven Wonders of the World.’ While this list has many variations, one location considered to be the ’Eighth Wonder of the World’ is the remarkable Chocolate Hills of Bohol, Philippines.

The Chocolate Hills are a geological formation in the Bohol province of the Philippines. With roughly 1,200 sprawling hills, though some estimates report over 1700 or more, the breathtaking terrain of grass-covered hills spread over an area of more than 50 square kilometers.

Many geological theories behind these unique formations are said to be the by-product of the weathering of marine limestone by several factors, such as rainfall and subaerial erosion. However, many myths and legends counter such theories. One popular myth speaks to the hill’s formation as a derivative of two quarreling giants hurling rocks, boulders, and sand at one another. Though childlike in though, such fables acted as the inspiration behind artist Natalia Kapchuk’s art piece Fairytale Lands, 2022.

Showcasing a vibrant chartreuse green for the hills and a rich cobalt blue for the riverbed, the artist employed a unique technique mirroring that of flocking in an eco-friendly way utilizing repurposed sawdust mixed with acrylic paints. By doing so, the artwork holds an air of fantasy evocative of the various legends of the Chocolate Hills of Bohol.

Fiberglass, chrome
Diameter 120 cm, Mixed Media

February of 2020 brought with it record setting temperatures in Antarctica. These high temperatures influenced Kapchuk to create Heart of the Ocean, considering the melting of a large-scale sheet of ice. Celebrating the beauty of the polar region’s nature, the piece is covered in a veil of shimmering blues and metallic silvers on fiberglass.

An ice sheet is defined as a mass of glacial ice of more than 50,000 square kilometres. According to reports posted by National Geographic, ice sheets store about ninety percent of all fresh water on Earth.

Sea levels have been predicted to rise by 1 meter by the year 2100, although some scientists even arrive to projections of 2.5 meters. Envisioning the ominous consequences set forth for future generations, the artist stresses the importance of preserving this “kingdom of polar ice”, so that the threats of coastal changes, floods and furthering disasters do not become real.

Polyurethane foam, plastic, spray paint
140 x 130 cm, Mixed Media

Natalia Kapchuk is confident that we can change the future of our beloved planet. Art is a perfect medium to bring change and raise awareness on the damages that we are causing. Reclaimed plastic items have become central in Natalia Kapchuk’s practice, almost defining her signature style. Covered in several layers of chrome paint, After Life, shows a pile of plastic. In the centre, a baby doll stands out. This is clearly disquieting but symbolizes the responsibility that we have for all future generation. While we look for someone to blame, we are the ones responsible for the state of the world.

Plastic garbage, net, paint on wood
Diameter 150 cm, Mixed media

Symbolically, the largest piece in The Lost Planet series is an installation dedicated to the problem of plastic pollution. While many of the pieces in the lost Planet series present parts of the world, the piece GPGP. Fragment № 98203 represents just a continent size mass composed entirely of garbage. Inspired from the Great Pacific Garbage Patch, also nicknamed “the eighth continent”, this piece is a collection of marine debris harvested from the ocean. In 2016, nearly eight million tons of plastic were dumped into the ocean. If this trend continues, scientists predict the by the year 2040 this number will be closer to twenty-nine million tons. At this rate, there will be more garbage in the world’s waters than fishes.

Here, Kapchuk ironically interprets plastic objects as an integral part of the ocean, a reality that mankind does not see, or rather, chooses not to see. To combat this growing problem, Kapchuk joins clean-up campaigns, in partnership with her own initiatives, to collect the plastic waste thrown in the Mediterranean Sea.

Plastic garbage, net, paint, on wood
310 x 275 cm, Mixed Media

The beauty of the ocean and all its overwhelming power, is indisputable. Kapchuk highlights this in her work, Sea Force. The power waves generate have long been a wonder to scientific communities worldwide. Through technological advancements dating back as early as the twentieth century, the harnessing of this unbridled power source became a reality. As a renewable resource, tidal power can be a huge part of the green energy mix, complementing solar power, wind turbines, geothermal, and hydropower. Though a safe alternative, the hand of global warming caused by climate change, limits wave cultivation. The heating of ocean surfaces impacts the strength and heights of waves, affecting its energy production.

The wonders of natural wave power transformed into electricity, has become the basis of Kapchuk’s artwork, Sea Force. Here, the artist expresses the possibility of utilizing wave energy in the asymmetry of her piece, wherein, the upper portion shows the height of sea waves, while the lower dark portion shows the hidden potential the immense natural resource can produce; thus helping to reduce carbon dioxide emissions and providing up to twenty percent of the energy needs of humanity.

Wood base, gold leaf, resi - crete, acrylic paint, pigments
100 x 100 cm, Mixed Media

The divine nature of Mother Earth provides the interconnected web of all existence with the necessary elements of support to protect and sustain life. Such marvels and unconditional love offered by the Earth are unfortunately not met with respect and reciprocity as humanity continually abuses its vast lands and waterways. Through greed and destructive practices, anthropogenic impacts have caused severe and irreversible damage to the planet, leaving behind dire consequences for both present inhabitants and future generations.

With oceans awash with single-use plastic, lands ravaged for their natural resources, and wildlife populations declining at an unprecedented rate, the artist urges humanity to reciprocate the love given by the place we call home through environmentallyconscious and sustainable actions. These practices may include switching to renewable energy, consuming seasonal and local produce, doing away with single-use plastic, planting trees, and much much more.

Deviating from the circular base consistent throughout The Lost Planet series of works, artist Natalia Kapchuk’s piece, Planet of Love (2022), is shaped in the form of a heart and is an artistic love letter to the place we call home. Cocooned in gold leaf, the artist displays the continents of the Earth using a combination of resicrete and pigments. Furthermore, the artwork also features a manifold of various butterfly species as the exquisite creatures are symbols of hope, transformation, and metamorphosis, conveying the need for globally changed behavior and awareness, begetting a change in the declining environmental state we see today.

Plaster, chrome paint
72 x 33 cm, Mixed Media

The functions cacti play in the areas they reside are essential, offering a source of nourishment for animals in differing habitats. These animals include deer, quail, hare, tortoises, etc. Cacti also bare fruit which is consumed by many animals as well. Furthermore, some species of cacti provide nectar for hummingbirds, bats, bees, moths, and other insects.

It goes without saying, these succulent plants are vital to the fauna of the Earth. However, due to the illegal trade of live plants and seeds for the horticultural industry and the greed of private collectors, their unsustainable harvesting is considered the primary threat to the cacti population.

Expressed in her piece, Abundance, 2021, artist Natalia Kapchuk covered her sculpture is gold accentuating the value these persevering plants hold. It is our duty as a global society to thwart any threats facing our flora populations before it is too late. The disappearance of the cacti species specifically will prompt a domino effect on all of Earth’s inhabitants.

Plaster, chrome paint
53 x 24 cm, Mixed Media

To coincide with The Lost Planet series of works, artist Natalia Kapchuk touched on a remarkably diverse species from Earth’s flora population— the cactus, in the introduction of 3 sculptures to further illustrate the wonders of our breathtaking world and the urgent need for its protection. The first sculpture of the cacti series took inspiration from the Carnegiea Gigantea, also known as the Saguaro Cactus.

Titled, Fertility, 2021, Kapchuk underscored the role these plants play in sustaining arid ecosystems. Vailed in a shroud of gold, the name of this piece derives from the cacti’s ability to thrive in the harshest conditions. In Native American cultures, the cactus symbolizes unconditional motherly love. Analogous to a mother, this succulent plant is a vital source of food and water for many desert animals like deer, coyotes, lizards, and tortoises. The animals, in return, help distribute the plants’ seeds, continuing the cycle of symbiosis.

Plaster, chrome paint
45 x 45 cm, Mixed Media

The art piece, Renewal, 2021, by artist Natalia Kapchuk, highlights the richness and plentitude of the cacti variety, containing nearly 2,000 species and 139 genera. Cactus plants displaying globe-shaped stems, similar to Kapchuk’s sculpture, offer the highest possible volume for water storage, reviving the plant in times of need. Interestingly, cacti have short growing seasons and long dormancy periods, able to acclimate quickly to any rainfall, perfect for any xeric environment.

Cacti are remarkable plants, and much can be learned from their existence here on Earth. Primarily, conservancy, adaptability, and protection from potential and future threats —attributes humanity struggles with when concerning our declining planet. Using the clues provided by nature, we as a global society can conserve the limited resources allotted, adapt to the status of our lands and waterways, and protect our precious planet for generations to come.