The following are the main points extracted from the technical dialogue.

During the “Best practices” discussion, many questions were raised about personal and artistic practices and environmental artistic production, as the backgrounds of the artists participating in the discussion varied from digital and/or hand painting to product design, music and architecture.

The artists agreed that the artist, as a human being, has a personal role towards the environment within his various practices in his daily life, while some expressed that our consumption and its impact on the environment as individuals and artists is not comparable with what is produced by large companies, and we cannot cover this damage as individuals.

On the other hand, a question was raised about the durability of artworks and their relationship to their market value, and whether there will be a demand from buyers to acquire these works that are produced from materials that are not harmful to the environment or produced from waste that cannot be recycled.

The attendees agreed that these works will necessarily have a higher value because of that, while some of them objected because some of these works cannot compare their life and permanence with works produced from materials processed in factories.

One of the questions was also about the lack of scientific knowledge and resources during university studies that enable artists to produce materials from scratch and the impact of academic study on framing the artistic product and moulding its various forms within a single style. While one of the artists expressed the existence of such knowledge in the field of traditional arts, so during their studies they learned how to extract inks and make brushes, for example.