Name: 火と氷の力を利用して、気候変動に対する意識を形成するアーティストたち (Artists harness the power of fire and ice to shape attitudes on climate change)
Uploaded: 2021-01-14T08:14:37.000Z
Duration: 8 min 15 s
Description: VoiceTubeの動画で発音を聞きながら英語表現を覚えよう！学べる英語：

AMNA NAWAZ: There's no lack of images and
powerful video when it comes to the disasters

But a pair of artists are using those images
in new ways, part of their mission to warn

people about what's happening too frequently
to familiar landscapes.

Miles O'Brien has this different look at the
power of fire and ice for our segment on the

MILES O'BRIEN: In a small shack in the Palm
Springs Desert and a sunlit studio on a Brooklyn

corner, two artists are aiming their talent
at an existential crisis.

JEFF FROST, Artist: Sometimes, people accuse
me of being an alarmist.

Any sensible adult who's responsible in any
way would be sounding the alarm right now.

MILES O'BRIEN: For Jeff Frost, the subject
is wildfire.

His film is "California on Fire," an intense,
horrifying creation about destruction.

JEFF FROST: I had looked at this wildfire
situation and I thought, well, here is a present-day

People tend to not react to things unless
they're actually happening to them right then.

And I was thinking, well, this is happening
right now.

It's definitely not a film that pulls any
punches whatsoever.

MILES O'BRIEN: For Zaria Forman, the mission
is the same.

ZARIA FORMAN, Artist: Art has this very special
ability to tap into people's emotions, and

people take action and make decisions based
on their emotions more than anything else.

MILES O'BRIEN: Her medium is pastels, and
her subject is ice, vanishing ice, also a

story of destruction, on a different time
scale, and from a different perspective.

ZARIA FORMAN: I choose specifically to show
the beauty of these places at the forefront

of climate change, as opposed to the devastation
that's happening, because I want people to

be inspired, to be moved to want to protect
and preserve them.

MILES O'BRIEN: Jeff Frost began his artistic
journey here, inside abandoned houses in California's

As he embellished them with paint, he captured
time-lapse images, art that is as much about

JEFF FROST: On the way to one, I accidentally
ran into my first wildfire out -- right out

My artist brain just kind of exploded, and
I stopped immediately and time-lapsed it all

I just was looking at it, thinking, I have
never seen anything like this.

MILES O'BRIEN: Zaria Forman's love of distant,
fragile places is inherited.

Her mother, Rena Bass Forman, was a fine art
landscape photographer, obsessed with exploring

and photographing the most remote places on
the planet.

In 2007, they traveled together to Greenland.

For Zaria, the ice offered inspiration, and
yet also intimidation.

ZARIA FORMAN: I was terrified to draw ice,
and I omitted it from all of my drawings.

It doesn't lend itself to very crisp, hard
lines, specific details.

And especially white is one of the hardest
colors to work with.

So, I just didn't think I was going to be
capable of it, to be totally honest.

MILES O'BRIEN: But it was impossible to ignore
this artistic sin of omission, so she eventually

ZARIA FORMAN: And it was this big, kind of
scary step, but I made my first drawing when

I got home, and it didn't turn out so bad.

MILES O'BRIEN: Jeff Frost became equally obsessed
with wildfires.

JEFF FROST: The very first time I went to
a fire, it was just massive level of anxiety

But, once I got used to it, it became more
contemplative, and it became more strategized.

I would take this photo that was incredibly
aesthetically beautiful, but then I would

feel guilty because I was happy about making
a good picture.

And I think a lot of photojournalists probably
go through this.

And, eventually, I compartmentalized and strategized.

And so, in a lot of ways, the strategy is
to pull people in with that aesthetic beauty,

but then they're seeing something that's got
a lot more depth than just the surface.

MILES O'BRIEN: His is constantly playing with
the clock, speeding it up, slowing it down,

JEFF FROST: If you change chronologies away
from real time, what our experience of time

is as humans, it can give you the overview
effect, which is the same kind of thing that

you get if you were to look at space photos
from the International Space Station.

It sort of expands your mind into this wider
view.

We really need that, because I don't think,
in the evolution of our species, anything

has ever developed to give us a global instinct.

MILES O'BRIEN: Zaria Forman has her own tale
of overview.

ZARIA FORMAN: So, one day, I opened this e-mail
that was in my inbox that read, "Dear Zaria,

we would love for you to come fly with us
over Antarctica, love NASA."

MILES O'BRIEN: It was the crew of NASA's IceBridge,
which flies low-altitude sensing missions

She's flown with them several times, a new
perspective on a familiar subject.

ZARIA FORMAN: I'm used to seeing it at the
very end stage, either the face of a glacier

where the icebergs are calving off, or the
icebergs that have already broken off and

are on their deathbed, essentially, until
they melt completely in the ocean.

So, it was really interesting to get to get
to fly over the ice cap, over the ice sheet,

and really see where all of that ice came
from, and understand how it travels and how

MILES O'BRIEN: It is the focus of her work
right now.

ZARIA FORMAN: I want to be true to the landscape
that existed at that point in time.

I want the viewer to have as much of a recreation
of an experience that I had.

MILES O'BRIEN: The landscape depicted in "California
on Fire" is grim.

It ripples with tension, made palpable with
a throbbing soundtrack composed and performed

JEFF FROST: The most feedback from the firefighters
themselves I have got is, this really makes

you feel like you're in the middle of a fire.

And you see the things that normally civilians
wouldn't see.

This probably gets as close as you're going
to get.