Gibson is an artist that draws inspiration from the day to day societal issues that plague his generation. Growing up with the clichéd, but nevertheless, true statement that, the children are our future, the artist feels sad that, as much as men preach this mantra, they do very little to progress it and children are often left behind when it comes to progress and change. 

Sonhos III is a painting from the series La Mujer y la Tierra (The Woman and the Earth) which, by dissociating the terms 'mother' and 'earth', speaks about the way in which both have been suppressed. In the same way that men have dominated the land for agriculture and mineral extraction, believing that this was the only way to perpetuate our species, women have also been subject to a wrongful comparison between their fertility and the soil's. Getting rid of the ties connecting femininity and Earth might give room to the dreams portrayed in the paintings.
 

This piece is the result of years of research where the artist combines traditional Andean textile techniques with technology and phenomenology. The interactive installation is comprised of optic fiber and hand-spun yarn. Both materials were woven using the same traditional loom and technique employed in pre-Hispanic times to produce the sacks on which they stored and transported seeds. With optic fiber and weaving being the most efficient means of transporting data, information is transformed into color pulses, which the optic fiber carries at the speed of light.
 

In his painting, the artist expresses his admiration and respect towards a woman who fought for the environmental wellbeing of her country, and whose voice was silenced forever. Through her fight to protect the land of her people, she exposed the reality of several government-tied companies, banks and multinational corporations that usurp the land to build factories and destroy the forests, taking the land and its natural resources away from its inhabitants. 
 

Wendy is a young woman who lives in Orocué, Casanare, in Colombia’s Eastern Planes. In this photo, Wendy makes the artist think of a strong woman who, from her place of origin, is staring hopefully into a future where there is a lot to be done.
 

Most children in El Salvador are faced with poverty, an unsanitary environment, disease and gang violence. The painting En el umbral del destino portrays two boys looking to an uncertain future. If the world is concerned with economic growth, gender equality and justice, any efforts should include health, safety and educational programs targeted to underprivileged children. Only then will they be able to access better living conditions, safer surroundings and education.

A freedom flag adapted into a metaphor that speaks about the flexibility required in today’s world and the exercise of individual freedoms within a society: What is the appropriate distance one must keep from others? This piece challenges social skills within a frameworok of tolerance-indifference: marking the distance from that which is different—alterity—as a sign of self-protection, as another form of violence.
 

By playing around with some of his family photos, the artist depicts the symbiosis that should take place between humanity and nature, a crucial relationship for sustainable development. The artist as a child represents a generation that was handed the world and must preserve it for the generations to come. Its legacy has the potential of defining humanity. 
 

The work explores the topic of migration of foreign species that arrived in South America, brought by Spanish ships during colonial times, as is the case of the Australian eucalyptus. Hence the idea of camouflaging the silhouettes of the Spanish galleons with the foliage of the eucalyptus, which alludes to the relationship between economic growth and globalization of the paper industry derived from the arrival of this tree species to South America.
 

The issues surrounding diversity have become more negatively enhanced. With popular Western media portraying black women as more beautiful when distorted by false buttocks, lighter skin and fake hair, more women in Jamaica are being hospitalized for infections brought on by these distortions. With their mothers sick from trying to be "beautiful", children are more vulnerable.  
 

For many museum visitors, anthropology exhibitions are a puzzling subject. For example, the rich legacy of wood carvings and aboriginal artifacts from the Caribbean basin are displayed in museum exhibitions as precious relics, disconnected from their past contexts, devoid of any meaning and alien to contemporary thinking. This piece is a reaction to this shortage and lacking. It is based on the anthropological analysis of the different patterns embellishing these ancient artifacts and is aimed at helping museums develop new ways of presentation. 
 

Geometry is a construction of human thought that goes beyond the organic quality that is inherent to the structure of human beings. It is in this sense that the artist sees his work as space for the potential dialogue with nature and its sustainability. His work involves the interpretation of geometric shapes in a process in which the organic is present as an ever changing construction  
 

Just as the female body usually is, a male body is being treated as an object. The faceless photograph dehumanizes the body, turning it into flesh that is being used to display something else. By presenting a close-up of a torso, the piece challenges the idea of 'art support', allowing the human form to become a sort of canvas. The artist uses his body and artistic effects to create the illusion of human skin as a means of expression.

This is a young barber participating in the first barber's festival of San Miguelito district in Panama City, a part of the country characterized by violence, poverty and chaos. For years, this district has been neglected by the government, so people have been forced to find innovative ways of earning money, such as becoming a barber. The festival, and these photos, are there to show them how valuable their culture and community are, and to motivate them to keep working hard.
 

Moses notes that the largest number of Dominicans living outside of the nation is in New York City. This creates diversity, inclusion and influence in connection with the interaction to the country. 
 

"Arrecha" is a word used to describe someone who is ready to put up a fight and lead a dignified life. "Arrecha" also refers to someone who is walking firmly in a world that, very cruelly, is constantly making unfair moves. Arrecha Hernestina is at the center of this piece to show that, regardless of our age or gender, we are all the same. 
 

This painting explores the idea of gender equality, a topic the artist believes the world needs to work out. The use of gold paint for the background and the allusion to money are aimed at showing how material possessions are actually what define people nowadays. These symbols are also there to expose how wealth is distributed in the global economy due to exploitation, low wages, money laundering, corruption, etc.
 

The work explores the vulnerability of the Amazonian ecosystem and how important the conservation of forest biodiversity is for global environmental sustainability. It also reflects on life and its relationship to the survival of humanity, a combination of knowledge that connects large-scale research endeavors on Earth systems, to help us understand the interactions of climate change.
 

Desde la ventana is a digital painting portraying the landscape surrounding the city, a site where subjects, constructions and plants merge. Native species and the ones that were introduced centuries ago, such as the palm tree or the araucaria, respectively, suggest a relationship of mestizaje where spaces are transformed.
 

The artist believes that, as responsible citizens of the Caribbean and Latin America, everyone must implement sustainable practices that protect the oceans in the present and in the future. Our oceans provide water, oxygen, employment, food and entertainment. This proposal highlights some of the sea life that is affected by pollution, over-fishing and resource depletion. 
 

The artist believes that human beings have to learn to live respectfully and harmoniously with other life-forms, understanding that we are all members of a single ecosystem, and that we need clean water, air and soil to lead a good life. Environmental sustainability must be worked out along with social and economic sustainability, as both impact nature.
 

La gota que rebalsa el mundo is a representation of the frailty of our planet, in terms of natural resources, and our future as human beings and a life system on earth.

The technical, economic and technological capacity of the Amazonian population—and especially that of indigenous peoples—results in less opportunities in terms of personal and economic development, as well as in participation and decision-making. It is pressing, then, for technology to be at the service of these communities, helping them disseminate and preserve their indigenous identity, exposing the damage caused to their biodiversity by foreign agents and highlighting the richness of their culture.
 

In the greater interest of wellness and longevity, Omokiba (Earth Mama) forwards messages of honor for the Earth and the Collective Mother Spirit. This Omokiba (Earth Mama) composition reminds us that we are integrated with nature and motivates us to nurture our planet in the same way she nurtures us all. 
 

The piece The Peep Show is a collage which looks at the objectification of Caribbean women. The Caribbean is often advertised in popular culture as a place that is exotic, and so images of the female body are used to enhance the fantasy of the tropical lifestyle. In this piece, the image of the cat, symbolizing femineity, is juxtaposed upon the faces of the female bodies. The outlines of islands that are challenged by sex tourism are the shapes through which the image is viewed. 
 

True inclusion allows excluded people to become part of development, giving the vulnerable sectors access to resources and opportunities. According to the artist, it is important for equality to manifest not in the form of charity but as availability of opportunities, so that people have the chance to contribute with their ideas and participate deliberately in the construction of a better world.
 

By gathering different elements that are easily associated with globalization and development—albeit in a way that is ambiguous enough for the meaning of the piece to be somewhat confusing—the artist wants to invite the audience to explore and draw their own conclusions on, among other things, the type of relationships that exists between humans and technology.
 

Sharedscape is a scenery that explores diversity and inclusion. In this painting, numerous and unique columns are set upright on a chain of mountains. They all go in different directions but end up converging into one single unit. The artist intends to create a situation where different structures interrelate and exist as a kind of scaffolding of ideas, consciousness and visions. 
 

Relevo generacional is a piece depicting the desire of young people to advocate for a new world, one with greater environmental awareness and that allows them to participate actively in decision-making processes and the actions that impact their lives. The determination and leadership of these new generations will be what turns around today’s environmental crisis.

Voces is an homage to all the minorities fighting to be heard and defend their rights, despite the obstacles of an excluding system. It is a dance between hands that are structured as   a still life, showcasing the different moments of their struggle to survive, but which together create a single being: an anonymous face crowned by its faith and hope for a better world.
 

Color is bliss for the eyes. It is the celebration of life and nature. Orange, red, green, blue, yellow, violet and indigo acquire their deserved nominal condition -not adjectival- circulating in the environment like a river of life. They are protecting the atmosphere in a sustainable way. They give us organic and primary forms such as the circle and the square that converge between endless lines, in constant movement. 
 

Diversity and inclusion are crucial to people’s intellectual and holistic growth. Being exposed to new environments and cultures increases our ability to understand the world, and thus our tolerance, empathy and respect for others. Initially portrayed inside a personal box to express individuality, three people emerge and join together, becoming a collective striving towards the evolution of humanity.
 

The piece delves into the topics of diversity and inclusion, as that is what the artist sees every day, living in a country that is comprised of multiple cultures. Dancing Sisters represents this diversity of colors and races. It depicts a dance where everyone shares the same space and rhythm, despite their differences.

About her work, the artist explains: "The development of technologies must take into consideration the safekeeping of nature, bearing in mind regeneration times and the utilization of resources required to recover areas that have been affected by anthropogenic activities."
 

According to the artist, all of life’s movements are ruled by the “Threefold Law,” which establishes that everything is born, lives and dies to be reborn once again. In order to change individual and collective structures, it will be necessary to leave room for chaos and destruction. The only way of carrying out successful social inclusion and innovation policies that embrace diversity will be by destroying many of the old structures. A shift that will entail suffering, but that will also bring hope.
 

The work shows a series of hands that are joined together around an imaginary territory. The ties they have formed are there to show how each of those bonds fosters richer, more harmonious and developed environments, removing ethnic and cultural differences to work on the common good. The artist sees diversity as a positive feature that will lead nations to prosperity. 
 

Gabriel's work Brasil, brasa, brasileiro is about the diversity of the people of Brazil, which is portrayed through some of the country's typical animals. Just like its fauna, the Brazilian people is very diverse. The artist notes that even in bad situations, people are always smiling. They choose not to focus on the problems but on the solutions. 
 

Extintos reflects on nature and human contact. The image connects the audience with the reality of the country, through somber and desolating aesthetic elements. While plastic bag pollution is a big threat for the environment, the bag in the piece is ironically portrayed as a container aimed at preserving it.

This handmade illustration alludes to maintaining the desire to transform the environment in which we live. It also suggests that the integration of different social groups is fundamental in generating a truly significant change. Gender equality is also present in the piece, being at the core of any initiative that promotes change and social transformation.
 

The series Humanum Vestigium captures concepts from the mass displacement of people in search for living spaces, leaving a permanent trace that cannot be erased over time. Unsustainable practices scratch the Earth forever. The use of black and white in the piece stands for the destruction of the environment, while the yellow represents the hope that there is still a chance to change the fate of the environment.

The wonderful ethnic diversity of Colombia is due to it being the entryway to South America. Ever since the discovery of the continent, the variety of its people and their traditions have contributed to the country’s cultural and immaterial heritage. The piece is, thus, a tribute to that diversity, that unique social and ethnic fabric, which, throughout history, has provided the people of Colombia with a sense of pride. 

Big projects and innovative ideas are being implemented daily, which is why avoiding development today has become almost impossible. One of the challenges of development is figuring out how to preserve that which is as real as nature. This piece is dedicated to those natural places that the artist used to visit as a child. Some have deteriorated, others maintain some of their natural qualities, but they have undoubtedly adapted to the changes that have been forced on them by human beings.
 

The painting shows Surinamese women from different cultures wearing colorful traditional clothing, against a background of lush Surinamese tropical rainforest. The traditional maroon drum and the multi-cultural symbols and patterns are representative of the rich and proud multicultural heritage of Suriname. Understanding and accepting people who are different from you, and embracing and celebrating these differences, are key messages in this work. 
 

As a part of the series La Incansable Tenacidad del Ser, this piece symbolizes the endless quest for transcendence, growth, and development of all aspects that make up a human being. The artist uses origami, a Japanese element that is turned into a universal object, transcending the barriers of what is local. Placing it within a global context, the hummingbird symbolizes perseverance and the ongoing change that humans experience through growth and globalization. 
 

This series of drawings represents life as a roadmap of how to navigate memory in a country that has been bruised by death, while also celebrating life, our dialogue with nature, our existence and our own inclusion in the territory and in history.
 

In Protección, the artist explores various aspects about the place one inhabits. One of them is the setting  of the houses of Belo Horizonte, which are always protected by fences crowned by spikes, walls, electric fences and cameras. People are afraid of other people. In the painting, a cactus stems from the floor of the house and there is the image of a fence, both of which symbolize protection: the cactus with its thorns and the fencewith its spikes.
 

Tremoris Tellus refers to Earth's tremors. Santos sees these tremors as powerful calls from nature for us to achieve a more sustainable way of life. According to the artist's vision, this mountainous landscape vibrates and asks the viewer to act with urgency.

The body of the woman has been created using QR codes, which, when scanned by the audience through their phones, lead to websites with news about femicides or cases of sexual abuse against women. In order to achieve equality, it is important to expose the level of exclusion of which women are subject, when society allows for sectors of the population to be vulnerable to violence.
 

The artist started working on this series If Ariela was a Trash Bag in Berlin during the summer of 2015. According to her, we are what we consume, especially what we throw away. Thus, in the photos, she replaces herself with a filled trash bag that she places around her apartment, which is where she spends most of her time. It was the dreams she had of a waste-free world, and waking up to a planet filled with trash, what led her to turning her reflections into art.
 

The author suggests that this photograph is relevant in the context of global warming and production policies that have driven us to the environmental crisis we are experiencing today. This sign is a warning and an invitation to reconsider such policies and to establish new ways of treating the environment. The dry plane in the image used to be the Viesca Lake, a body of water that fostered migratory North American birds in winter, which dried out due to the construction of run-of-river dams.

The work is a metaphor for the cultural diversity that is usually associated with color and the technological innovation that drives communication and allows for a flowing exchange of information. Thus takes place the creation of high-frequency interactions that are being stimulated and are accelerating the homogenization process that comes from a cultural fusion that cannot be stopped.

Damir’s work is aimed at diversity and inclusion. Much like football and cricket within the Caribbean, stilt walking can provide a common ground for people of all races and classes to interact with each other. Thus, the piece reflects on diversity and inclusion, promoting the importance of the spaces that foster the coexistence and participation of heterogeneous people.
 

Megapolises grow at unprecedented rates, setting the social, political, cultural and environmental trends. In 1950, one third of the world’s population lived in cities; 50 years later, it is at one half, and it is expected to grow to two thirds by 2050. In the series of photographs entitled Lima-a-mil (Lima for one thousand), the sequence evidences the disparities between 'haves' and 'have-nots', the urban asymmetries unintentionally created by the desire of people to enjoy better opportunities in the city.

In her work, the artist tries to draw attention by using a geometric shape that alludes to school and the idea of coexisting and learning during childhood, that is, with curiosity and openness to exploration. The image portrays fishing nets and a hand collecting fish, among which there is a deep-sea fish that has somehow emerged to the surface. The aim of the piece is to move the audience and spark dialogue around the importance of learning to live in harmony with Mother Earth, considering that, both socially and individually, we are overexploiting nature and its resources.

Blues speaks about how we are all connected, regardless of race, ethnicity, gender, sexual orientation, gender identity or expression, ability, socio-economic class, age or spirituality.  A reflection on core values and on how diversity brings multiple perspectives to our community; promotes the exchange and questioning of new ideas; and honors varied traditions, cultures, points of view and perspectives. 

All Homo sapiens share the same physical brain structure. Social distinctions constitute a narrative that unfolds within it. Consequentis maps the artist’s encephalon through sagittal planes.
 

This work explores the relationships between architecture, water, the city and its inhabitants. Single-family living does not work as well as it should. Green areas are reduced to tiny spaces. The desire for freedom and privacy results in the need for security, which makes it easier for the market to manipulate those who are afraid. The artist’s solution to this problem is the development of an urban densification strategy oriented towards the settlement of communities on hills, with special attention on taking advantage of the water cycle.
 

The Americas conceived as a feminine body, pierced by the conquest, showcasing its full identity and power. The Americas as an allegory of a power that integrates and overcomes, as a feminine force that creates and supports life, mixing , integrating, unifying and projecting it. An extensive and generous motherland that embraces what is different and brings it together to create new life. 

The artist explores how irresponsibly we treat the environment and how necessary it is to create awareness on the world we are leaving to the future generations.

The artist’s illustration is an attempt to explore gender equality and the idea that love can overcome anything. She wants to transmit that, no matter one’s gender or sexual orientation, what truly matters is that we are all people who are deserving of loving and being loved.

Aldeias portrays the diversity of the indigenous peoples of Brazil and South America, especially Paraguay. There are also several references to paintings and photographs, glued together in a tangle, which suggests the integration of the represented figures. At the same time, the piece suggests that, while being the ones who have the most to teach us about sustainability, indigenous peoples still struggle for inclusion and against  invisibility.

The Yonna is the typical dance of the Wayúu indigenous people, who live on both the Colombian and Venezuelan sides of La Guajira. Every year, the indigenous capital of Colombia, Uribia, holds the Wayúu Culture Festival with the aim of strengthening their culture, native language and cosmology. This piece depicts an important moment for the community, young and adult, as they celebrate the coming-of-age of a girl who has transitioned from childhood into womanhood.

This project explores how domestic and wild animals are being humanized as a result of individuals’ secondary needs (spiritual, aesthetic and emotional, among others). The aim of this piece is to show that both human beings and animals, no matter their origin or race, must be treated with dignity and respect, and that all the different social groups should merge to create one center: culture.

Throughout the years, feminists have fought for every right women have nowadays, and we still have a long way to go. That is why men's participation in the feminist movement is necessary to get closer to gender equality. The two hands in Equal are saying 'equal' through sign language. The presence of both a man's and a woman's hand suggests that true equality can be achieved by joining forces. 
 

The experience of elderly people in their efforts to actualize youthful ambitions can be a motivational incentive for young people, as is the case of the Captain in the piece who, staring into the horizon, remembers his childhood dreams in the fishing village at Oistins, Barbados, where he used to play. This piece relates to the diversity and inclusion challenge through its emphasis on ignored demographics, such as the elderly and children, in development strategies.

To be in the presence of art can provide an invigorating experience for anyone sharing such a presence. Art has the ability to improve one’s heart rhythm and trigger memories that one can relate to on an emotional level. With this in mind, Santiago thinks of his artwork as a celebration of life, more so than a public proclamation of the needs of our existence.

In this piece, Félix Sequeiros, of the Uru indigenous people in Llapallapani, sits on his boat on what used to be the Poopó Lake in Bolivia. In December 2015, this lake, one of the largest in South America and a source of survival for the Uru people, went completely dry due, in part, to global warming. 
 

La negrura de tus ojos tells its story through the eyes of an indigenous person. Filled with a sense of wonder, curiosity and fear, these are the eyes of someone who has stepped into an unknown world and is making their way through it, while rediscovering the idea of identity among strangers. Someone who is building a life into the invisible realm that is unfolding in front of their eyes. 

Plaza Bolívar is one of Bogota’s most iconic landmarks. The pigeons and photographers that occupy the square coexist thanks to the Polaroids that tourists ask to take with the birds. Unlike migratory species, these pigeons spend their entire lives on this square, with a single partner and being fed corn by the photographers. The pattern for photographers is quite similar, as they usually marry the women who sell the corn, teach their trade to their children and remain in that same square because of the birds.

Cattle culture is strongly tied with Colombian and Latin American identity. From when they were first introduced into to the continent, zebus have been associated with economy and food and, in most cases, they have covered vast stretches of land, coexisting with the native landscape and culture for centuries. However, the Magdalena River and its diversity have been damaged mainly due to the deterioration of the soil and deforestation caused by overgrazing. 

The work depicts a gay couple getting married as a kind of rallying cry that stresses the equality of civil rights to which everyone is entitled.

In her work, the artist depicts the anarchy that prevails in today’s cities and the utopia that characterizes urban planning, which has led to a rural exodus and the emergence of large urban areas—subnormal neighborhoods or shanty towns that do not meet their basic needs and struggle with pollution, lack of resources, crime and discrimination—located in upscale neighborhoods, turning big metropolises into urban slums.
 

The artist is inspired by how culture and identity are constructed in urban spaces. Urban life often asks us to reflect on our identity; as its construction evolves, we consider our connections with the past and the integration of our present. This image is an abstract landscape of an informal housing settlement in Latin America. The colors and chaotic abstract forms reflect an active and engaged community that literally and symbolically constructs its urban life and identity brick by brick. 

Through photography and videos, the artist explores the way of life of the Wayúu indigenous people. The inhabitants of the Alta Guajira, a flat dessert area, live in scattered settlements that are far apart from one another. While  water in the area is scarce, they manage to maintain a positive attitude and are always smiling. A very creative and eccentric group of people, they handle everything—the objects and circumstances that surround them—with a lot of optimism.

Cities, with their accelerated and sometimes unplanned growth patterns, are facing serious mobility and environmental issues that must be dealt with now to prevent them from collapsing. Cycling provides a friendly solution for a better city.
 

The development of urban settlements in big cities as a result of displacement keeps increasing. People are moving to urban areas in the hopes of finding a better life for their families, which requires the creation of new ways of communication to cover for basic needs, which is reflected in the development of transport, food and public services. Amidst this constant influx of new people, each group globalizes their knowledge, culinary culture, tradition, among others. This cultural exchange leads to the globalization of their local context and the trade of information, which usually requires new ways of satisfying their needs, and thus appear commerce, informal economies and small businesses. 
 

The piece depicts the image of a small gysophila flower being examined under a scanning electron microscope. The artist suggests that, by applying new scientific techniques, we can encourage the population to look at the fascinating world that surrounds us in more detail. It is time to look inward, to use the soul instead of the eyes to observe the world around us, to stop and seek the voice of mother nature as she asks us to return to the basics, to beauty.

The piece is a play on the concept of ‘horse,’ which, in this case, refers to both the animal as well as ‘horsepower’, represented by the back of a motorcycle. According to the artist, motorcycles are one of most efficient and least polluting means of transport. The floral elements and the geometric shapes represent the balance and the advantages that motorcycles have to offer to reduce pollution.

These photographs depict some of the native bird species of Bogota’s wetlands, which, due to negligence and the absence of conservation efforts in the area, are now endangered or extinct. The preservation of these ecosystems is vital for the existence of these species, functioning as a safe haven for migratory birds.

Naranja is inspired by the harassment, violation of rights and violence that women undergo on a daily basis. The name of the piece, as well as the color in the background, represent energy and warmth, both traits that relate with women’s female power and their love of their roots. As an artist, Pauline hopes to inspire women and girls to appreciate and use that infinite female power they all carry inside.  
 

Since 2007, a group of young people have been creating and setting up community radio stations in humble neighborhoods and sensitive areas  to transform the territories where they are installed. By providing them with an outlet—namely radio shows and workshops—communities become the protagonists of their own stories, promoting social and collective organization.
 

El arca is part of the Circo mitológico (Mythological Circus) series, where the artist offers a unique perspective on endangered and introduced species in South America. By depicting humanized animals, she is trying to vindicate them from the abuse and predation of which they have been victim. In this work, the yaguareté or jaguar, one of the most endangered species in the north of Argentina, is leading an expedition in a zeppelin in search of a safe haven.

The girl in the portrait is at the top of a mountain, as raindrops fall into the ground, watering the seeds. The fight for gender equality needs to start with the youngest generation, because they are the only ones who have the power to define what will happen in the future. The artist adds: "And if need be, we’ll run to the mountains to continue our fight."