Tideline

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Thank you to our esteemed guest speakers, Di Fu, VP of Impact Investing at Temasek; Kristin Sadler, Manager of Platform & Impact at Quona Capital; Rekha Unnithan, CFA Unnithan, Global Head Impact Private Equity at Nuveen, a TIAA company; and Eszter Vitorino Fuleky, Lead Expert Sustainability Advisory at Van Lanschot Kempen, for sharing your valuable insights as we strive to move beyond table stakes.

Going Nowhere 1.5’ is the latest instalment in an accidental trilogy of ‘Going Nowhere’ films that now spans 25 years. The idea for ‘Going Nowhere 1.5’ came from being fascinated by ‘Doggerland’– a drowned world in the North Sea that used to link Europe and the British Isles and whose remains now form the entirely submerged ‘Dogger Bank’. Shot in the North Sea off the coast of Norfolk, the film depicts a figure walking around the perimeter of an intertidal island as it is slowly eaten away by the rising tide. As with all the Going Nowhere films the figure seems to be caught in an absurd and Sisyphean task – always striding forwards, but to what aim remains unclear. In ‘Going Nowhere 1.5’ the figure could perhaps be seen as the last ‘Doggerlander’.

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In 2018, Richard Long produced a series of screen prints, based on drawings he made from mud taken from the banks of the tidal River Avon in Bristol, where he first played as a child. ‘Even as a kid I was fascinated by the enormous tide, and the mud banks, and the wash of the boats as they swept past… I guess it’s right to say that I have used that experience in my art: like water, the tides, the mud. All that cosmic energy is there in my work.’ Tideline’s ‘Framework for Impact Labeling’ helps investors communicate their approach to sustainable investing based on the degree to which they integrate Intentionality, Contribution, and Measurement into their investment process

We are thrilled to see this work come to life in the Child-Lens Investing Framework, and encourage investors across the field to adopt CLI and invest in the future of children. I started looking at sea defences within my work in 2017, as I was interested in their varying geometric shapes. These huge man-made shapes protect the land we walk on from the ever-encroaching expanses of sea. They seem so alien and out of place in their natural setting. Charles Smith-Jones' muntjac book. Muntjac: Managing an Alien Species is a great, in-depth, look at the history, ecology, management and stalking of muntjac deer. Then we have our new edition of the classic The English Whippetby Colonel Ted Walsh and Mary Lowe. I have wondered ever since, why businesses don’t have people in their boardrooms and in the decision-making process who speak up for the cost to the environment that they exclude from their balance sheets. It is really a conversation about values: one group of people trading and seeking to make money should not be plundering our shared ground and seas, just because the cost to the planet does not appear on their profit and loss sheet.

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No one cares for what they don’t know about and can’t see, so in understanding human nature, you can find a way to open them up to things that may not be local and in their orbit. I seek to present unique pieces of art that reach an audience, and promote conversations about how they can get involved now that they are thinking and talking about the issues.