A public garden & cultural center

Eve Mosher


Remediate/Re-vision: Public Artists Engaging the Environment
Glyndor Gallery | August 1 – November 28, 2010

Shocked by the lack of aggressive legislation and services addressing environmental issues, New York–based artist Eve Mosher creates large participatory projects that stimulate awareness and activate the public’s potential for change. In 2007, Eve Mosher conceived of Seeding the City, an environmentally conscious pyramid scheme that simultaneously promotes community building and addresses urban environmental issues by inviting individuals to enlist fellow neighbors to join a network of “Green Roof Modules” (GRM).

Green roof modules effect environmental change by removing heat from the surrounding air and roof surface through evapotranspiration, the process of using heat to evaporate water through plants’ leaves and soil. In addition to decreasing heat island effect, green roofs foster inner-city ecosystems, filter gray water, lower heat stress, and reduce energy use, air pollution, and greenhouse gas emissions.


Once installed, the modules are marked with a flag and street level signage to draw more attention to this network, which is virtually mapped and tracked online for its impact on local heat island effect. To date, there are approximately 20 sites, many of which are institutions.

Eve Mosher on Seeding the City
My engagement with the environment has evolved over time. I first started working three-dimensionally after moving to New York City. The urban environment felt like a place where one had to make an effort to engage with nature, and I felt the need to draw it out and create a visible connection. After a few years of working abstractly, and in the midst of non-action on the part of the federal government, I decided to move my practice into a more active role, taking on a variety of environmental and social issues. I see the two as being deeply intertwined. The goal of the work now is to take issues and solutions to as wide an audience as possible, and to create interactions which allow participants to connect with the urban environment in a variety of experiential ways.

Both my background as an artist and as a student of architecture continue to inform my work. I try to think creatively about the use of space, both public and private, and how that space might be used to connect people, places and things. My training taught me to look at what is there and what is in between (the void), and how each of those types of spaces can be used to influence movement, emotions and actions. The artist in me seeks visually and conceptually interesting methods of achieving environmental and social action. I continue to esteem the aesthetics of a work while considering the simplest means to an end.

Most of the projects are measured by the number of people directly participating in the project. At the same time, I like the domino effect the projects may have: one person might change their attitude or approach to their urban environment through direct participation, which in turn may affect a second person witnessing to take action. I could apply metrics but feel that the emotional impact is a greater and more abstract measure. The emotional connection is what will effect the greatest long-term impact.

The Arts at Wave Hill are supported by the Lily Auchincloss Foundation, Inc.; Michael J. Shannon; Milton and Sally Avery Arts Foundation; the National Endowment for the Arts; New York City Department of Cultural Affairs; New York Community Trust Edward and Sally Van Lier Fund; New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature; The Pollock-Krasner Foundation; The Shelley & Donald Rubin Foundation; and by the Cathy and Stephen Weinroth Commissioning Fund for the Arts.