Liljana Mead Martin is an artist, environmental researcher, and writer working on the unceded traditional territories of the xʷməθkʷəy̓əm (Musqueam), Sḵwx̱wú7mesh (Squamish), and səl̓ílwətaɬ (Tsleil-Waututh) Nations in Vancouver, and the Hul’q’umi’numʔ and W̱SÁNEĆ (Saanich) speaking peoples on Salt Spring Island.

Working across sculpture, installation, earthworks, and drawing, her practice explores the material ecologies of land cultivation, fire history, and climate evolution. Through series like Deep Thirst BioOrchestra and Primary Futures, Martin develops speculative lifeforms and material traces emerging from charred surfaces, post-fire conditions, and extractive stress. This process of reworlding operates as a long-term catalogue of research into how bodies and landscapes adapt to ecological friction.
By treating artworks as real specimens rather than mere representations, Martin considers forest systems not as static backdrops, but as living archives of disturbance, resilience, and ongoing negotiation between human and non-human forces.

Martin holds a BFA from the Nova Scotia College of Art and Design (2010) and an MFA from Emily Carr University (2016). Her work has been exhibited internationally, including das weiße haus (Vienna, 2026), ENTRE (Vienna, 2025), Salt Spring Arts (2024), and Zalucky Contemporary (Toronto, 2022). Notable presentations include NADA House (Governor's Island, NY, 2022), and solo exhibitions with Wil Aballe Art Projects (Vancouver, 2021) and The Drake (Toronto, 2022). She is the founder and editor of the online periodical BIOMASS (est. 2020) and a collaborator with Nature Creative Commons, bridging science communication and environmental policy in British Columbia, Canada.