The Sun photographed at 304 angstroms by the Atmospheric Imaging Assembly (AIA) of NASA's Solar Dynamics Observatory (SDO). Image courtesy of NASA/SDO and the AIA, EVE, and HMI science teams.

Dani Admiss

Sunlight Doesn’t Need a Pipeline

Sunlight Doesn’t Need a Pipeline is a project that explores and enacts just transition in the arts. Across 2022, a coalition of art workers, agitators, dream weavers, makars, and caregivers, will co-create a bottom-up and open-source decarbonisation plan for art workers.

In a time of climate emergency, radically reducing carbon emissions in the arts is not simply about stopping subsidies for oil companies, swapping flying for shipping, or lowering an organisation’s carbon footprint; it also depends on cultivating a deep understanding of our roles in, and the consequences of, such transition. 

What ways of living and being together must we keep, what must we expel, and what must we let go? 

Sunlight Doesn’t Need a Pipeline will be convening holistic community-driven carbon reporting, co-creating an Anti-Offsetting Primer and a Carbon Literacy Training Index for workers, organising a day-long ‘dawn-to-dusk’ Festival that gives more than it takes, and sending out Monthly Messages with in-world directives. Allying with individuals, communities and organisations from far and wide, and from inside and outside the sector, we will be plotting imaginative and tangible actions as part of a pathway towards a just and decolonial transition in the arts. The published plan will be launched at the end of the year and will be adaptable and modifiable for the worker’s own decarbonisation journey. 

Read Sunlight Doesn’t Need a Pipeline Monthly Messages:


If you would like to keep up to date with Admiss’ Fellowship project you can sign up to receive future Monthly Messages here or are interested in getting involved, please contact

Dani Admiss is a curator and researcher working across the fields of design, art, technology and science, and was appointed to the Stanley Picker Fellowships at Kingston University in 2020. Her approach is framed by world-making practices and community-based research prioritising these as lenses to explore alternative forms of curatorial practice.