Have you ever considered how e-waste and inequality are intermingled? E-waste is a global issue and we are all a part of it. But being surrounded by an industrialized society, we don’t know what it’s like to live amongst the waste and removal of technology garbage.

“The seasons don’t matter to us much anymore except as spectacles” (End of Nature by Bill McKibben, page 59). Nature’s changing seasons have shifted in its significance to us as technologically advanced humans. Now seasons are seen as a beautiful reminder of life’s changes which we look at in awe, rather than a time stamped alteration of life and death.

Targeting the ‘weak consumer’ to leverage sales is a corporate ploy as old as time, and now more than ever, our lives are constantly disrupted by marketing. Everywhere you go, every time you open your phone, every avenue of life seems berated by marketing schemes to get you to buy something new. Inherently, sustainability has a hard time fitting into the puzzle of consumption culture. As fashion is a huge part of consumer culture, I often wonder how sustainability and fashion fit together and if the constant creativity of new products and pieces is the enemy of sustainability?

In this essay, I will be exploring and comparing two works of art: Imágen de Yágul (1973) by Ana Mendieta and Blossoming Organs (2023) by Kei Imazu. These two works carry strong themes of women and rebirth told through the lens of nature and eco-feminist and environmental justice beliefs.