In 2015, visionary and advocate Gustav Metzger embarked on one of his last major projects. Known for creating auto-destructive art, Metzger had devoted his career to addressing societal issues from nuclear disarmament to plant-based living. In a brief video message, he made a plea for a global day of action to celebrate the natural world.
“This is my appeal for your engagement in this global appeal for a day of action to remember nature on the fourth of November, 2015,” he announced, encouraging cultural workers to stand against the continuing disappearance of living beings. “The mission is to help the public recall of the abundance and sophistication in nature … and by doing so art will enter realms that are naturally imaginative.”
In this way the environmental art day was established, a day when artists across the country developed works to the ongoing environmental crisis. Jo Joelson, who worked closely with Metzger in his final years, remembers his drive for action. “He had a great sense of urgency for him at the final chapter,” she says. “My advice was – we must act now. No need to pause for funding or for anyone to authorize this. Take action immediately.”
A decade on, the project did not sparked the widespread change across the arts that Metzger had envisioned, but supporters think its impact can still be seen in campaigns like artist-led declarations and climate activism networks, as well as in how artists approach the eco-friendliness of their methods. That’s why she is relaunching it to commemorate its decade milestone. Included in the featured creators involved this time are Yu-Chen Wang and other notable figures. Each has produced imagery, recorded calls to action, and created artworks set to be revealed on 4 November 2025.
Interviewing Anya Gallaccio, she is working outdoors in the countryside, helping plant apple trees that will create a coiled garden. Collaborating with schoolchildren, her project is half artwork and somewhat instructive. According to her, the preparation and sowing sessions have already involved learning about measurements (spacing the gaps in the orchard), biology (discussing the apple’s DNA), and geography (researching the backgrounds of how different apples were introduced to England).
Several the apples were selected because they’ve got funny names such as the other unusual varieties. We have one apple that produces red juice
“Several the apples were picked because they’ve got humorous titles such as the other unusual varieties,” says Gallaccio. “We have one apple that releases red juice. Every one carries stories behind them. The ancient variety was brought over by the Romans. The Flower of Kent is the apple that dropped off a tree and struck Isaac Newton’s head.”
The artist aimed the children to be more consciously engaged of the environment and the power we have over it. “For a lot of them, apples were just things you find in a supermarket, so I was urging them, next time they were out, to check the packaging and see the variety and where they were grown. Hopefully it says Kent!”
In London, Youngsook Choi’s project on disappearance will engage visitors exploring an art institution on a quest to find the seven major glaciers that have been disappeared in recent years. All formations will be illustrated on the exhibition spaces using invisible ink. When located, a bell will ring and a performance will be held to commemorate that particular glacier.
Elsewhere, up in a northern town, a creative will be presenting a open display about our separation from nature, as well as hosting a communal feast, prepared with regional food. Over in Newcastle, a participant is broadcasting her musical project, in which local singers embark on a mission to perform for vegetation in a green space.
Like Gallaccio, another participant will be collaborating with schoolchildren – on the scheduled date she is aiming to decorate a cultural venue in children’s artwork that capture their dreams and worries for the future. “Youthful expressions are impactful because they’re not as trammelled as mature perspectives,” she says in her call to action video. “The contributions of youth to the world is something distinctive and hopefully it will provoke a awareness of obligation from us all. Children are innocent. They have concerns for tomorrow. But it isn’t meant to be about anxiety – it should be about positivity and making sure that they have a tomorrow.”
Paul Harfleet’s work also appeals to children. Drawing on past experience, his feathered initiative involves sketching winged creatures and then embodying them – and for the initiative he is aiming to tackle Liverpool’s famous Liver bird. He is also conducting a guided walk of the city, visiting various sites that have been part of his long-term work over the past twenty years. This endeavor started after he faced several events of prejudice on a one occasion. To counter this, Harfleet decided to sow a flower at the location of every incident and record it – the project has since expanded to incorporate experiences shared by other people across the world. “The flowers remain there but they fade quickly,” says Harfleet. “Apparently birds consume them, so they’re a very temporary memorial.”
The artist selected the pansy not just for the direct association – it has long been a term of homophobic abuse – but also because its etymology comes from the French verb, penser, to think. “People connected it with a man who is contemplative, and that, of course, is a bad quality,” he says.
The project on Remember Nature day is to sow flowers at new locations and also renew the tributes in places he has honored before, all the while discussing with those on the walking tour about the incidents and his personal experiences. “I’ve recorded quite a few since I last planted,” he says with regret.
Harfleet hopes his work – and
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