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Artists working with Brooklyn’s Genspace biomaterials studio presented work using natural pigments, algae yarn and alternative clays at a three-day Queens exhibition during Climate Week. The report details Becca Rodriguez’s pigment work and describes the show’s broader focus, but does not identify the other three artists or provide material sourcing and durability data.
Artists from Genspace’s biomaterials studio presented work made with natural pigments, algae yarn and alternative clays at a three-day exhibition in Queens during Climate Week in 2026. The show, titled “Source Material: Genspace Biomaterials Studio BioArt Exhibit,” explored how locally grounded and biodegradable materials might broaden options for artists who often rely on synthetic supplies.
The exhibition took place at Flux IV in Queens and brought together artists working through Genspace, a community biology lab in Sunset Park, Brooklyn. The report describes the artists’ approach as connecting local ecosystems, scientific inquiry and community collaboration. It presents the materials as prompts for new creative methods, rather than simple substitutes for products already used in studios.
One artist profiled in the report, Becca Rodriguez, made “Puddle Pigments” (2026), a work combining mugwort, mulberry and serviceberry pigments on paper with water samples, test tubes and video. Her project draws attention to plant-based sources of color and to the processes used to investigate them. The report does not provide measurements of the pigments’ permanence, toxicity or environmental footprint.
The report also describes Kaitlyn Gillums’s compost clay. A photograph shows her holding a bowl made from the material; her bracelets and belt buckle are also described as compost clay. The exhibition’s wider focus included algae yarn and alternative clays, though the supplied report excerpt does not identify the other artists or explain their individual projects.
Materials Shape the Making
The projects put the material choices behind art-making in view. Synthetic paints, dyes and other studio supplies are readily available, while the artists featured in the report are investigating materials derived from biological sources. Their work suggests that a change in material can also change the artistic process: gathering, testing and preparing a pigment, for example, becomes part of the work’s subject and method.
The exhibition’s environmental relevance is clear, but the report does not establish that these materials have a lower overall impact than synthetic alternatives. That comparison depends on factors such as how materials are grown or collected, processed, transported and disposed of. The show is best understood as an exploration of possible approaches, rather than evidence that any one material is already a proven replacement at scale.
From Plant Color to BioArt
Artists have used colors from plants, animals and minerals for centuries. The report notes that synthetic dyes and paint tubes developed in Europe in the 19th century, making manufactured options widely available. It also points to familiar natural colorants such as indigo, cochineal and turmeric, while noting that many other organic sources of color exist.
Natural pigments carry histories beyond their practical use. The report says some materials and techniques hold symbolic and cultural meaning, particularly in Indigenous communities and artistic traditions across the Global South. It does not name specific traditions or describe how the exhibition addressed questions of cultural knowledge, access or attribution.
The Genspace show was presented during Climate Week after a summer marked, in the report’s account, by heatwaves and natural disasters linked to the climate emergency. Its organizers’ stated focus was the artistic potential of biomaterials and collaboration, with renewable and biodegradable supplies framed as areas for exploration.
Evidence Still to Come
The report excerpt does not name three of the four artists, describe their works in detail or give technical information about the materials. It is also unclear how the artists assessed biodegradability, durability, safety or environmental costs across the materials’ life cycles. The exhibition’s presentation of these supplies does not by itself show that they can meet the performance or availability needs of artists who use synthetic products.
No audience response, sales information or plans for further exhibitions are reported. The source describes artistic investigations, but does not say whether Genspace or the artists intend to publish methods, conduct comparative testing or develop materials for broader use.
Further Material Testing
The exhibition ran for three days, and the report does not announce a follow-up event or research milestone. Further reporting could identify the other artists, document how they source and prepare their materials, and establish what tests they use to assess performance and disposal. Those details would help readers judge how the projects might translate from experimental artworks to routine studio practice.
For now, the confirmed development is the exhibition itself and the range of materials it brought together. Whether the work leads to new production methods, wider adoption or additional public programming remains unknown.
Key Questions
What was the Genspace BioArt exhibition?
“Source Material: Genspace Biomaterials Studio BioArt Exhibit” was a three-day show at Flux IV in Queens during Climate Week in 2026. Artists connected with Genspace’s biomaterials studio presented work exploring biological and alternative materials.
Which materials did the artists explore?
The report names natural pigments, algae yarn and alternative clays. It specifically describes mugwort, mulberry and serviceberry pigments in Becca Rodriguez’s work, and compost clay in work associated with Kaitlyn Gillums.
Does the report prove these materials are better for the environment?
No. It describes an artistic exploration of possible alternatives, but provides no comparative data on sourcing, production, durability or disposal. The environmental impact of each material remains unestablished in the excerpt.
Who were all four artists?
The supplied report excerpt names Becca Rodriguez and Kaitlyn Gillums. It refers to four artists but does not identify the other two in the available material.
Source: rss
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