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    • I actually start by asking tons of questions to understand the constraints, partnerships and limitations.

      While most people think what I do is "creative", it's actually a lot closer to systemic problem solving.

      Here's one of the slides in the deck I generally send interested parties so that they can understand all the different moving components that have to be juggled in order for a campaign to be successful.

    • Hey!

      I think one of the biggest emotions I hope that people get from my environmental art is the sense that their individual decisions make a difference.

      In the case of Mermaids Hate Plastic, we used 10,000 plastic bottles which represent the average number of plastic bottles a single American might use over the course of their lifetime.

      That means that if we changed the hearts and minds of 0.01% of the 37 Million people who watched the video, that could theoretically represent roughly 37 Million less plastic bottles used.

    • Besides replacing plastic water bottles with reusable alternatives, what are some ways people can reduce their plastic footprint?

    • When I would think back to the projects that gave me the most joy, it was this video I made that helped raise 2 million dollars for Sanfilippo, the time I surprised a chronically ill fan for his 21st birthday, or this video I made for someone who was dying of cancer.

      You actually beat me in volunteering for one of those. It took me two days to consider the call to volunteer, then I found out you had already replied within 10 minutes. ❤️

      My question is why, after those incredibly moving experiences, did you take on the big environmental projects instead of pursuing another human story?

    • There are tons of resources online that range from semi-inconvenient (like traveling with a reusable bottle or container) to full-blown inconvenience (leading a zero-waste lifestyle).

      To me, I think that so long as its a topic that stays top of mind and doesn't become accepted as the new normal, we still stand a fighting chance!

    • I'd love to do more human stories - but the problem is that human suffering is hard to conceptualize in a way that doesn't offend anyone.

      For example, if I - as a person who never suffered from food insecurity - tries to create a project around my perception of food insecurity - people get offended. Even if I do the research, and collaborate with a knowledgeable non-profit, it's really hard to defend. I tried, it didn't go so well.

      This doesn't mean that I'm not interested in tackling other human problems - I'm always open to any kind of storytelling challenge - It's just that the opportunities haven't presented itself yet!

    • The saying “a picture is worth 1,000 words” is very relevant here - more like 1,000,000 words. Do you feel the artistic possibilities afforded by photography create more impact than words or data charts alone?

    • I think that Art, or Photography, is simply another facet of expression. Data is powerful, words are powerful, images are also powerful. They're all simply different tools that are available to us to express ourselves, neither one is better or worst than the other.

      I think what's exciting is when different mediums are combined... like this piece I did that combines spoken word and an art installation:

    • ​​Now that you are a brand storyteller, I’d love to know how you would tell the story of a brand like Impossible Foods.

      The story is a renowned team of scientists were able to make a delicious plant-based burger, every bit as good as real burgers. They sell it on that + the idea that it’s better for the planet, making them the most important company in the world.​​

      You haven’t done any environmental stories involving animals that I’m aware of. If they hired you to tell the story, how would you approach it?

    • I think that the right approach would be to have an in depth conversation with the team over at Impossible foods to understand what their greatest challenge is and see if marketing and communications is the segment that they need help in.

      From there, it would be about lining up the more practical resources: space, time, duration, activation - and custom sculpting a narrative.

      So hypothetically - if Impossible foods was looking to market how much more environmentally friendly their burger is and had access to a large hallway space within SFO airport , I might recommend something along the lines of trying to bring to life the statistic on how it takes 2500 L of water to create one pound of beef vs X L of water to create one pound of impossible meat.

      The visual of that could be hundreds of bottles of water of different sizes, hanging from the ceiling, all pouring into a single hamburger... vs. a couple bottles of water pouring into an impossible burger.

      It's the kind of visual that will have people wondering from afar, and when it clicks can occupy the kind of emotional space within someone's heart that a pure statistic just doesn't quite achieve.

      Of course, if Impossible wanted to market based on taste it would have to be an entirely different experience.

    • The visual of that could be hundreds of bottles of water of different sizes, hanging from the ceiling, all pouring into a single hamburger... vs. a couple bottles of water pouring into an impossible burger.

      Oh my God that's amazing. Someone should hook you up with Pat Brown, the CEO of Impossible. You want to Google him because he is extraordinary.

      So it feels to me like teens are having trouble telling the story of their fear of climate change to olds like, you know, people approaching 30. Their protests are getting noticed. How would you advise them to tell a compelling story that would help them with old people? You have taken a few amazing photos of climate change that tell the story of us ignoring the coming storms.

    • It's a small world I'm sure it'll happen. I tend to wait until the stars align rather than to be pushy and sell hard! At the end of the day, the projects that are the most successful are the ones that are collaborative, not uni-directional.

      With regards to the next generation, I think that kids might need to start getting more granular and less idealistic. Although it may not look like it, there are tons of very smart concerned people working towards changing the system but those changes take time.

      At some point, it's less about telling people about what's wrong and more about proposing an alternative or a better solution.


      As for those focused purely on telling better stories, I would recommend focusing on small localized impact. The small successes help open up the door to bigger success. If you can convince one building to switch to solar, you can convince ten. If you can convince ten, you can now convince hundreds.

      Tell a globally relevant story but highlight the small localized impact you're able to have. It's what I'm trying to work towards on my latest pieces!

    • I think that the universe is always trying to pigeonhole artists within their most successful projects. In my case, because my ocean plastics stuff has been so popular, I've been getting more and more requests to tackle that. I often have to go out of my way to explain to people that I can do more than just represent one single topic!

    • You travel quite a bit for your work. What are some of the most incredible landscapes you’ve seen? Some of the most fragile ecosystems?

    • I actually don't get to see very much of the places I travel to. Very often, I'm immersed on the logistics and production of bringing a project to life and so it's much more head down in the ground to "survive the project" more than anything else!

      To answer your question though, I think that the most fragile ecosystems are the ones that happen far beyond what we see. Insects for example are dying at an alarming rate, along with coral reefs - both fairly out of sight, out of mind.

      The problem I think with photographs of pristine beautiful landscapes and ecosystems that you see on Instagram is that they provide us with a false sense of security and stability.

      Sorry that was a little depressing, but the numbers don't lie.

    • Was this the point in your life where you’ve decided to become an environmental activist or was it a gradual transition by way of artistic projects with environmental focus?

    • Good question!

      We don't have a practice of weighing our installations but the bulk of the materials used to create our installations start off as waste - and although we unfortunately don't have the technology to change their fate (we recycle when possible if that's the best course available locally) - they are given a second life to preach something I think is even more important than recycling and that's reduction.

      For each person influenced to change their consumption habits, they can, over the course of their lifetime reduce their consumption of items in the tens of thousands which I think make it totally worth it!

    • I have to admit that I miss the old adventures I used to have in my past photography life. Diving and hanging from buildings are things that are a little harder to do in conjunction with the new art installation track I'm exploring but... you never know how those skills might come in useful in the future!

    • I never really decided to become an environmental activist as much as I stumbled on it.

      I think that everyone has a general understanding that climate change is a thing, or that ocean plastics is a threat or that e-waste is on the rise... but few take the time to actually dive into the topics.

      Similarly, I only take the time to dive deep into a topic when I'm presented with some kind of a storytelling opportunity. Unlike @Chris , I'm not an inherently curious person and I need a REASON to dive deep into something so the projects I tackle are that reason.

      In the case of my first environmental project (Stormchasing), my girlfriend Anna Tenne ( came up with the idea of using storms as a metaphor for climate change and right before embarking on the project we binge watched some documentaries like Cowspiracy.

    • oh hoh! Great question.

      I personally like the term Artist best as it sorta summarizes me without limiting me to one single thing. I'm technically an influencer, blogger, videographer, director, creative director and producer too... but none of those are summarized in any of the other words! I enjoy working on humane projects just as much as environmental ones too!

      In some ways I think the world needs to fit you into a box... and I understand the need for it from a marketing perspective... but I would definitely call myself "Artist"


    • Hey ! Great to hear from you. I shot the #Mermaidshateplastic series in September of 2016, but released it in December 2016. (You can read more about it here:

      I shot the project partially because my sister's wedding just happened to be in Montreal and the mermaid tail designer (that my mom found!) also just happened to live in Montreal. It was at the time when the Great Pacific Garbage Patch was getting a lot of attention and it seemed like a great way to shed light on the problem in a visual and emotional way!

    • Not really. I sorta stumbled upon it when I had the intention of making a difference with my art. I think that when you start LOOKING for ways to have a positive impact, that's when you start stumbling across different ways to have an impact!