Art and artists draw attention to the issues and open conversations about aspects of the problems the world is facing. I think interesting visual work remains in peoples’ minds and creates an emotional response that equally stays with them. This is how artists who choose to advocate and campaign can connect with people in a way that other forms of information have not. These barriers of shapes protecting the land from the sea represent a metaphor to me of the human condition and struggles that we face. Particularly apt at a time when the nightmare that is Brexit has become real, disease has turned our lives upside down and we are on the brink of a potential world war. Where one body of water is sinking beneath or riding over top of the surface layer of another body of water (somewhat similar in mechanics to subduction and/or uprisal of the earth plates at continental margins). These types of tidelines are often found where rivers enter the ocean. Lisa Jewell has called it ‘Enthralling and Addictive’ and Jenny Quintana (author of ‘The Missing Girl’) ‘A truly compelling story that captures exactly the complexity of friendship and motherhood and how everything we think we know can be challenged in one heartbreaking instant…’ Measurement – Monitoring and reporting impact performance based on measurable inputs, outputs and outcomes.

My other ‘Anthropocene Fossil’ pieces are fossilised vessels of the Petro-chemical industry; an oil barrel and a jerry can. There is a circularity to these works as the Hamstone used is a Jurassic limestone, and most of the crude oil processed by the petro-chemical industry is found trapped within Jurassic or cretaceous limestone. Geoffrey Wansell wrote in the Mail ‘ Penny’s ability to evoke place and fill it with a sense of dread, not to mention her cool ear for the nuances of dialogue underline the du Maurier comparison .’ When Ellie hears about a hit and run incident on the dark country road she’s just driven down, she becomes convinced she’s the culprit. Driven to seek out the victim, she unleashes a nightmare.

When advising on fund formation, Tideline is guided by our framework for establishing a client’s impact integrity , which features three key pillars: Target Market (identifying the impact characteristics of the target market in which a fund is investing); Capabilities (developing the capabilities of the investor to deliver and demonstrate impact); and Positioning (advising on the appropriate positioning for the fund). When all three pillars are aligned, investors will significantly enhance their ability to achieve targeted impact, client satisfaction, and avoid accusations of impact washing. Once an impact fund is launched, Tideline is often retained as a provider of ongoing implementation services. Tideline, UNICEF, and UNICEF USA worked with diverse stakeholders across the field in the development of the CLIF, working particularly closely with six investor participants via an inaugural Child-Lens Investor Cohort: BlueOrchard Finance Ltd, Calvert Impact , Elevar Equity, Finnfund, Rethink Education, and Save the Children Global Ventures. The CLIF’s launch formally incepts child-lens investing (CLI), defined as an approach to sustainable investing in which investors intentionally consider child-related factors to advance positive child outcomes while minimizing child harm. The BlueMark team has designed proprietary methodologies for evaluating how each of the three key components of an investor’s impact management process—impact mandates, impact management practices, and impact reporting—are aligned with industry standards like OPIM, Global Reporting Initiative (GRI), Impact Management Project (IMP), the Global Impact Investing Network’s (GIIN) IRIS+, UN’s Sustainable Development Goals (SDGs), and others. Global warming and rising sea levels will soon have a devastating impact on our daily lives. Cornwall is one of the UK counties which will be most affected by climate change; cliffs are eroding and flood risks are increasing. The coastal cliffs of North Cornwall are likely to experience 40 metres of erosion in the next century. Climate change is happening now, and we can already see the effects that this is having around the world. Independent verification is essential for scaling the impact investing industry with integrity,” said Christina Leijonhufvud, a Managing Partner at Tideline who has transitioned to become CEO of BlueMark. “By introducing a reliable mechanism for establishing trust and accountability in the impact investment market, stakeholders can have greater confidence in impact claims and performance. Asset owners and institutional allocators especially benefit from the introduction of impact verification, which has the potential to dramatically simplify the impact screening and monitoring process and thereby mobilize greater capital flows toward positive societal impact.”

Q. What is the inspiration behind your work in Tideline and how does sit within the context of your work? Tideline, a specialist consultant for the impact investing industry, today published a how-to guide for investors seeking to define their approach to sustainable investing. The full report, “Truth in Impact: A Tideline Guide to Using the Impact Investment Label,” is available at https://bit.ly/3yiy8Mu. Thank you to our esteemed guest speakers, Di Fu, VP of Impact Investing at Temasek; Kristin Sadler, Manager of Platform & Impact at Quona Capital; Rekha Unnithan, CFA Unnithan, Global Head Impact Private Equity at Nuveen, a TIAA company; and Eszter Vitorino Fuleky, Lead Expert Sustainability Advisory at Van Lanschot Kempen, for sharing your valuable insights as we strive to move beyond table stakes. We are thrilled to see both the CLIF and Toolkit come to life, and look forward to seeing CLI continue to be adopted by investors across the market.The guide also introduces the Tideline Framework for Impact Labeling, which compares and contrasts different approaches to sustainable investing according to the degree to which those investment approaches integrate three core pillars of impact investing: Art and particularly sculpture can be wasteful, and all artists need to consider ways in which they can make their practices more sustainable. Through exploration of the possibilities of recycled and eco-friendly materials, artists can bring about education. The more people are made to be aware and care, the bigger the demand for change. The bigger the demand for change, the more big companies or governments listen and want to be seen to be doing something.

Inside, Tania Kovats’ Bleached anticipates what future museum presentations of these vital and fast-disappearing habitats might look like. Taking specially-fabricated coral from a decommissioned exhibit from The Deep aquarium in Hull, Kovats sliced through the In 2018, Richard Long produced a series of screen prints, based on drawings he made from mud taken from the banks of the tidal River Avon in Bristol, where he first played as a child. ‘Even as a kid I was fascinated by the enormous tide, and the mud banks, and the wash of the boats as they swept past… I guess it’s right to say that I have used that experience in my art: like water, the tides, the mud. All that cosmic energy is there in my work.’The aim of Lifelines is for the public to become as easily familiar with the location and shape of coral reefs as they are with the shape of continents. I am seeking to create a sea-change in people’s thinking, where out of sight is no longer out of mind, and to pull focus to life below the water and our connection to and dependence on healthy oceans.