Liljana Mead Martin is an artist and environmental researcher whose work explores the elemental language of environmental change. Through material and media research she gathers data from sites of land degradation in order to highlight potential adaptations or speculative fictions for experiencing a more integrated understanding of the natural world. 

In recent solo exhibitions Geophilia (WAAP ‘21) and Deep Thirst BioOrchestra (The Drake ‘22), her works respond to the results colonial land development and recent the increase of heat waves, forest fire and floods in the Pacific Northwest. In Negative [Space] Interface, her work explores the precarious expansion of housing development inside Wildlife Urban Interface zones - areas that are increasingly susceptible to forest fires - due to climate change and the absence of forest stewardship based on colonial-centred provincial and national laws. Thermal mapping and it’s associated high chroma colour palette, is a visual reference point for artworks which engage the body and hazardous conditions. Casts of ears, hands, arms and legs explore a sensorial perspective on attentiveness, perception and survival. 

Martin holds an MFA from Emily Carr University (‘16) and BFA from the Nova Scotia College of Art and Design (‘10).  Her work has been exhibited at Nanaimo Art Gallery (Vancouver Island), Wil Aballe Art Projects (Vancouver), Zalucky Contemporary (Toronto) and NADA House Governor’s Island (NYC).
Martin is the Editor and founder of BIOMASS (worldwide) an online contemporary art periodical. She currently works as a Science Communicator for Conservation Decisions Lab, in the Department of Forest and Conservation Science at the University of British Columbia. 

Photo by Steven Cottingham.