Art from the Edge of a Polluted Shoreline

What do we do when the ocean—a source of beauty, life, and connection—becomes a dumping ground for human waste?

Karla Herencia compels us to stop and consider our relationship with the sea and the lasting impact of our consumer choices. Known for her powerful environmental art, Herencia has spent years transforming plastic pollution from her local beaches into striking works of art. Now, with new paintings and a sculpture that marries natural and artificial materials, Herencia challenges us to reflect on the invisible ties between human activity and the ocean’s slow degradation.

Herencia's latest work asks a critical question: How do we grapple with the double-edged nature of modern materials, ones that give us convenience yet choke the very ecosystems we rely on? Through her environmental art, she invites us to reconsider the everyday items we discard without a second thought, and their lasting presence in the world.

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Environmental Art. From Waste to Wonder: A Sculptural Statement

Karla Herencia’s latest work, a wooden trunk resembling a piece of driftwood, carries a deeper environmental message. At first glance, it appears natural and weathered by time, but a closer look reveals tiny, colourful bits of plastic punctuating its surface. This juxtaposition of organic and synthetic materials reflects the coastal environment Herencia inhabits, where plastic waste merges with natural ecosystems, becoming part of the landscape itself.

While the sculpture seems like a relic washed ashore after years in the ocean, the plastic intrusions disturb its harmony, reminding viewers how deeply human industry has embedded itself into even the most remote parts of nature. Herencia’s use of materials is deliberate; she allows the plastic to protrude like parasites, drawing attention to its intrusive nature. The result is a powerful statement on the merging of natural and industrial worlds, illustrating how difficult it has become to separate the two.

Karla Herencia, Presencias Incrustadas, Wooden Trunk

Herencia’s sculpture also reflects the negotiation between what is natural and what is manufactured, a transition that often happens without us even noticing. The trunk and embedded plastics are silent witnesses to how what arrives and settles alters narratives and existence. Her work shows plastic becoming part of the natural environment, illustrating a world where tensions between human impact and ecological resilience coexist.

The concept of "embedded" in her work reflects both the fixation of an idea and the violent act of adhering one object to another. By using a trunk collected from the seashore as a symbol of vulnerability, Herencia shows how plastic's presence alters the delicate balance of nature.  Soon to be displayed at the Cultural Center of Spain in San José, this piece embeds fragments of plastic within the trunk, symbolising the pervasive intrusion of plastic into even the most remote corners of nature.

This piece also questions the seductive appearance of plastic, which, despite its bright colors, represents an omnipresent threat to nature. Herencia critiques global narratives of development and sustainability, which promote future ideals but are rooted in economic models that often disregard cultural diversity and environmental complexity. Her work prompts reflection on the contradictions between materiality, appearance, and the underlying forces driving development.

Herencia is making more wooden trunk sculptures in this series. The series challenges perceptions of development and sustainability, reflecting on the complex relationships between natural and artificial elements. Herencia invites viewers to confront the deeper implications of coexistence and the contradictions within our environmental realities.

A New Phase in Environmental Art: Sensitive Oceanographies

Karla Herencia, Inteligencia No Humana, Acrylic on Canvas

Herencia’s 2024 exhibition at San José's Alliance Francaise, “Sensitive Oceanographies”, marks a shift in her artistic practice. Known primarily for her environmental sculptures, this exhibition at San José's Alliance Française introduces a suite of new abstract paintings. Inspired by her time spent near the Pacific Ocean on Costa Rica's Nicoya Peninsula, the paintings reflect her ongoing dialogue with the ocean.

Each canvas depicts the ocean as a site of collision—between tectonic forces, human intervention, and ecological transformation. Herencia’s use of layered abstract forms evokes the fluidity of water but punctuates this movement with sharp, dynamic shapes representing the disruptions caused by human presence. Rather than presenting the ocean as a place of calm, these paintings convey a living, contested space shaped by natural and artificial forces alike.

The paintings contain layers creating a sense of depth and motion. The streaks of colour are reminiscent of scars from ships or plastic debris, cut through the composition. These elements challenge viewers to see the ocean not as a peaceful expanse but as a living entity struggling against human impact.

In these new paintings, Herencia offers a fresh visual language that moves beyond depicting the ocean as it appears. Instead, her work imagines the complex negotiations the ocean is constantly involved in, from geological shifts to the pressures of human development and tourism.

Art and the Environmental Crisis

Karla Herencia, ¿Qué Son Esas Manchas Que Flotan 004, Acrylic on Canvas

Herencia’s environmental art has long reflected the environmental challenges we face today. What sets her work apart is its visceral nature, steeped in the meanings of the materials she uses—whether they be plastic fragments, driftwood, or paint. She doesn’t obscure the origins of her materials; instead, she uses them to create a dialogue about the human impact on nature. Her work is a tangible, personal way to engage with the overwhelming scale of environmental destruction.

Unlike many artists who simply express concern, Herencia pushes her audience to confront their own complicity. We live in a world where plastic is necessary yet destructive—a convenience that endangers the ecosystems we depend on. Herencia’s work forces viewers to grapple with this discomfort and reflect on their own consumer habits.

At the same time, her work is not moralistic. Instead, it’s meditative, allowing viewers to see the beauty and threat in these materials. By presenting plastic and driftwood in their raw forms, she invites us to see the intricate ties between human activity and the natural world. Her work asks a crucial question: Can we continue living this way, or are we heading toward a breaking point?

Expanding Her Reach, Locally and Globally

Karla Herencia in her studio, 2024

As Herencia’s work evolves, so does her reputation. Her recent inclusion in international exhibitions, such as the Tijuana Triennial, has introduced her environmental message to a global audience. Despite this international recognition, Herencia’s environmental art remains deeply rooted in the specific landscapes of Costa Rica’s coast.

Through her latest sculpture and paintings, she addresses more than just the environmental crisis. Her art urges us to rethink our place in the fragile ecosystem of the ocean. In an era marked by ecological degradation, Herencia’s art is both timely and essential. It reminds us that nature and humanity are intricately connected—and that we share a collective responsibility for the future of our planet.