Defense Date


Document Type


Degree Name

Doctor of Philosophy


Media, Art, and Text

First Advisor

Dr. Eric Garberson

Second Advisor

Dr. Marcel Cornis-Pope

Third Advisor

Pam Turner

Fourth Advisor

Stephen Vitiello


This dissertation expands upon the definition of eco-visualization artwork. EV was originally defined in 2006 by Tiffany Holmes as a way to display the real time consumption statistics of key environmental resources for the goal of promoting ecological literacy. I assert that the final forms of EV artworks are not necessarily dependent on technology, and can differ in terms of media used, in that they can be sculptural, video-based, or static two-dimensional forms that communicate interpreted environmental information. There are two main categories of EV: one that is predominantly screen-based and another that employs a variety of modes of representation to visualize environmental information.

EVs are political acts, situated in a charged climate of rising awareness, operating within the context of environmentalism and sustainability. I discuss a variety of EV works within the frame of ecopsychology, including EcoArtTech’s Eclipse and Keith Deverell’s Building Run; Andrea Polli’s Cloud Car and Particle Falls; Nathalie Miebach’s series, The Sandy Rides; and Natalie Jeremijenko’s Mussel Choir.

The range of EV works provided models for my creative project, Sculpting Corn Production, and a foundation from which I developed a creative methodology. Working to defeat my experience of solastalgia, Sculpting Corn Production is a series of discrete paper sculptures focusing on American industrial corn farming. This EV also functions as a way for me to understand our devastated monoculture landscapes and the politics, economics, and related areas of ecology of our food production.


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