Ghost Nets and Phantom Islands: Mapping the Anthropocene
Combining speculative fiction and visual art to explore new possibilities for mapping our changing planet

By now the top of the mountain had been flattened. As they reached the deeper layers they discovered seams of copper, zinc and gold. Something needed to be done with this excess material, so they built smelting works and factories, a casino and a stock exchange. As the mountain diminished, a city rose; as the mine sunk deeper below the surface of the plain, more material was taken away, by road, by rail, by boat, to build cities in distant countries. Goods flowed out and news flowed in.
From 'Mountains of the Moon' by Ben Smith
Map of an imagined future Arctic, exploring the exploitation of resources and vanishing ecologies and cultures. Acrylic and guache
A detail from the imagined map of a future Arctic, showing the impacts of the melting ice caps. Acrylic and guache
A detail during the making of the deep sea mining map, showing the mineral veins marked in oil pastel to be washed over with guache paint. Oil pastel and guache
The Aboriginal ‘dreamings’ are deeply rooted cartographies based on storied landscapes. They inspired this map of shipping routes and container ships. Acrylic and charcoal
A collaged map whose process and imagery represent the idea of quarrying and resource extraction for constructing cities leaving voids elsewhere in the landscape. Collage and acrylic
Using the traditional cartographic notions of plan and section, this map plays with scales of landscape and material to explore the future impacts of deep sea mining. Oil pastel and guache
Piece of a fragmented map exploring the vanishing landforms and soil structure due to intense agriculture, leaving abstract, unnavigable landscapes. Acrylic and charcoal
Piece of a fragmented map exploring the vanishing landforms and soil structure due to intense agriculture, leaving abstract, unnavigable landscapes. Acrylic and charcoal
"Each map was a process of exploration in itself. I had to feel my way into what material or technique best suited these imagined landscapes. I used the cut pieces of collage to form a quarried and recycled cityscape. Abstract markings of acrylic and charcoal explore the cartography of eroding landscapes. The cross-section of a manganese nodule became an island surrounded by an ocean topography – the veins carving the seascape into deep-sea mining territories. I was inspired by a made by the Chukot of the Bering Straits and maps of Aboriginal ‘dreamings’ to explore resource exploitation, ice melt and the vast networks of shipping lanes, playing with ideas of disorientation but also connection.
Making these maps feels like a beginning. The process invites you to think backwards and forwards in time, to see where they will take us."
Rose Ferraby is an artist and archaeologist whose work explores the relationships between people and the earth. In 2019 she created with artist Rob St John, exploring the sub-surface of Aldborough Roman town through image and sound. Commissions from museums and heritage organisations have developed new ways of communicating archaeological sites and ideas. Increasingly Rose’s work is looking forward, addressing conservation and climate concerns in positive, imaginative ways that might help encourage change. She often collaborates with writers, and illustrates regularly for , winning the Michael Marks Award for Poetry Illustration in 2017. Rose’s enthusiasm for storying landscapes has led to broadcasting work with BBC Radio 3 and 4, including and .
The Sustainable Earth Institute's Creative Associates projects aim to explore novel and innovative ways of communicating research and develop a portfolio of case studies of the different creative approaches possible.