Sunlight Doesn’t Need a Pipeline believes in social and ecological justice, and collaborative learning.

It recognises the need to challenge the creative art sector, its institutions, and companies to take responsibility for the colonial past and present that forms the basis for much of its wealth and power.

Sunlight Doesn’t Need a Pipeline understands that how we work with others should embody our values. Racism, classism, ableism and sexism and other forms of oppression manifest themselves throughout society. The project and its founder, Dani Admiss, are committed to creating supportive and critical environments to examine and challenge the way that power and privilege manifest within art projects, the art sector and beyond and to work with others in this work.

The project is funded by Stanley Picker Trust, Arts Council England and Kingston University. 

Sunlight Doesn’t Need a Pipeline recognises that financial transparency is a critical part of a Just Transition. We are part of ongoing conversations with our commissioning organisation about their funding structures and how to make these more transparent.

We also ideologically support the People & Planet network, who are campaigning for social and environmental justice by demanding all universities divest. To find out more about how Kingston University has been ranked in terms of their environmental and ethical performance please click here.

We will publish all our findings and share them as widely as possible. We will continue to actively work on anti-racist practice in all that we do moving forward.

If you have feedback please let us know.

Sunlight Doesn’t Need a Pipeline is committed to having an ecological and social impact in its work.

The website uses green hosting via 20i. All their web hosting runs on 100% renewable power. Sites hosted on 20i will pass the Green Web Foundation‘s sustainability checks.

Dani Admiss has developed a climate justice map. Designed by Studio Hyte, the map is intended to aid artists and arts organisations to build a contextual understanding of art practice. For example, when it comes to exhibition design, instead of looking for a sustainable timber to create your exhibition plinth, the map prompts users to ask what materials are local, abundant and least carbon heavy, rather than asking what is the most eco-friendly, which can lead to homogenisation rather than diversity. The map uses this approach to build a contextual understanding of art practice and reclaiming being in relation with land, labour, access, energy. The map will be published at the end of the 2022.