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I consider it my life's mission

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to convey the urgency[br]of climate change through my work.

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I've traveled north to the Arctic[br]to the capture the unfolding story

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of polar melt,

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and south to the Equator to document[br]the subsequent rising seas.

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Most recently, I visited[br]the icy coast of Greenland

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and the low-lying islands of the Maldives,

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connecting two seemingly disparate[br]but equally endangered

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parts of our planet.

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My drawings explore moments[br]of transition, turbulence

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and tranquility in the landscape,

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allowing viewers to emotionally connect

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with a place you might never[br]have the chance to visit.

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I choose to convey the beauty[br]as opposed to the devastation.

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If you can experience the sublimity[br]of these landscapes,

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perhaps you'll be inspired[br]to protect and preserve them.

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Behavioral psychology tells us[br]that we take action

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and make decisions based[br]on our emotions above all else.

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And studies have shown[br]that art impacts our emotions

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more effectively than a scary news report.

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Experts predict ice-free Arctic summers

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as early as 2020.

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And sea levels are likely to rise[br]between two and ten feet

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by century's end.

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I have dedicated my career[br]to illuminating these projections

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with an accessible medium,

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one that moves us in a way[br]that statistics may not.

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My process begins[br]with traveling to the places

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at the forefront of climate change.

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On-site, I take thousands of photographs.

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Back in the studio,

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I work from both my memory[br]of the experience and the photographs

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to create very large-scale compositions,

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sometimes over 10 feet wide.

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I draw with soft pastel, which is dry[br]like charcoal, but colors.

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I consider my work drawings,[br]but others call them painting.

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I cringe, though, when I'm referred to[br]as a "finger painter."

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(Laughter)

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But I don't use any tools

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and I have always used[br]my fingers and palms

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to manipulate the pigment on the paper.

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Drawing is a form of meditation for me.

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It quiets my mind.

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I don't perceive what I'm drawing

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as ice or water.

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Instead, the image is stripped down

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to its most basic form of color and shape.

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Once the piece is complete,

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I can finally experience[br]the composition as a whole,

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as an iceberg floating[br]through glassy water,

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or a wave cresting with foam.

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On average, a piece this size[br]takes me about,

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as you can see, 10 seconds.

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(Laughter)

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(Applause)

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Really, more like 200 hours,[br]250 hours for something that size.

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But I've been drawing ever since[br]I could hold a crayon, really.

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My mom was an artist, and growing up,

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we always had art supplies[br]all over the house.

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My mother's love of photography

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propelled her to the most[br]remote regions of the Earth,

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and my family and I were fortunate enough

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to join and support her[br]on these adventures.

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We rode camels in Northern Africa

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and mushed on dog sleds[br]near the North Pole.

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In August of 2012,[br]I led my first expedition,

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taking a group of artists and scholars[br]up the northwest coast of Greenland.

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My mother was originally[br]supposed to lead this trip.

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She and I were in the early[br]stages of planning,

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as we had intended to go together,

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when she fell victim to a brain tumor.

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The cancer quickly took over[br]her body and mind,

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and she passed away six months later.

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During the months of her illness, though,

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her dedication to the expedition[br]never wavered, and I made a promise

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to carry out her final journey.

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My mother's passion for the Arctic

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echoed through my experience in Greenland,

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and I felt the power

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and the fragility of the landscape.

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The sheer size of the icebergs

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is humbling.

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The ice fields are alive[br]with movement and sound

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in a way that I never expected.

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I expanded the scale of my compositions

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to give you that same sense of awe[br]that I experienced.

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Yet, while the grandeur[br]of the ice is evident,

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so, too, is its vulnerability.

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From our boat,

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I could see the ice sweating[br]under the unseasonably warm sun.

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We had a chance to visit[br]many of the Inuit communities in Greenland

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that now face huge challenges.

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The locals spoke to me[br]of vast areas of sea ice

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that are no longer[br]freezing over as they once did.

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And without ice, their hunting[br]and harvesting grounds

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are severely diminished,

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threatening their way[br]of life and survival.

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The melting glaciers in Greenland

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are one of the largest[br]contributing factors to rising sea levels,

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which have already begun to drown

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some of our world's lowest-lying islands.

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One year after my trip to Greenland,[br]I visited the Maldives,

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the lowest and flattest country[br]in the entire world.

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While I was there, I collected[br]images and inspiration

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for a new body of work:

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drawings of waves lapping[br]on the coast of a nation

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that could be entirely underwater[br]within this century.

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Devastating events happen every day

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on scales both global and personal.

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When I was in Greenland,

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I scattered my mother's ashes[br]amidst the melting ice.

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Now she remains a part[br]of the landscape she loved so much,

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even as it, too, passes[br]and takes on new form.

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Among the many gifts my mother gave me

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was the ability to focus on the positive,

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rather than the negative.

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My drawings celebrate the beauty[br]of what we all stand to lose.

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I hope they can serve as records[br]of sublime landscapes in flux,

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documenting the transition[br]and inspiring our global community

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to take action for the future.

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Thank you.

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(Applause)