Artist Laura Shape works in a medium few would ever expect: invasive species. As the first known fine artist to create with leather sourced from invasive species, she’s turning an ecological crisis into a catalyst for change. Laura transforms materials from lionfish, carp, and Burmese pythons, species that wreak havoc on native ecosystems, into striking pieces of art with purpose. 

Every artwork she creates directly removes damaging invasive species from vulnerable habitats, helping ecosystems begin to recover while sparking conversations and bringing more people into the fold.  

We sat down with Laura to explore the inspiration behind her artwork, how she bridges the worlds of art and science, and what she’s excited for next. 

Plus, for the month of August, Laura is donating 25% of proceeds to Island Conservation.  

What inspired you to begin using invasive species as your artistic medium? 

I began working with leather making handbags, drawn to its texture and durability – especially the exotics with their fascinating and unique natural patterns. But as my work evolved toward fine art, I felt uneasy about using another creature’s skin purely for aesthetics. I started searching to find a natural leather that aligned with both my ethics and my fascination with beauty.  

Discovering the story of the invasive Burmese pythons in the Florida Everglades changed everything. When I found Python Huntress Amy Siewe, who was transforming these predators into ethically sourced leather, I knew I’d found my path. Soon after, I came across INVERSA’s lionfish leather, and realized my art could actually help solve an ecological problem, not just depict it. 

To my knowledge, I’m the first and only fine artist in the world working with invasive animal leathers. 

How do you choose which species to work with, and what’s the process of transforming them into art materials? 

I only work with materials sourced from ethical partners who ensure humane removal and tanning processes. My goal is to use what’s available in ways that maximize ecological impact. But if my suppliers expand into more species in the future, I’ll be excited to explore working with them too. 

Can you describe the emotional or symbolic significance behind using these materials? 

Working with these leathers feels deeply meaningful. Symbolically, I’m turning destruction – both the damage caused by these animals and the sad, but necessary destruction of these animals –  into lasting beauty. It’s my way of leaving the world better than I found it. 

Emotionally, this work has made me braver. Once I realized my art could directly help solve an ecological problem, the self-consciousness around selling my work disappeared. It’s not about me anymore, it’s about creating impact.  

Another big emotional driver for me is that I can’t do it alone. I’m creating a method of impact through my art, but collectors make that impact scalable. Every artwork acquired funds the removal of more invasive animals. Each collector becomes a hero – someone who helps heal ecosystems simply by choosing to live with beautiful art. And, honestly, they don’t even have to know about the problem to participate in its solution.  

You’ve mentioned that experimentation is central to your practice. Can you share a moment when that led to a breakthrough? 

My work wouldn’t exist without experimentation. Because no one else is painting on invasive leathers, I’ve had to invent the entire process myself. My biggest breakthrough came when I realized I could cut the leather into squares and mount them onto panels like a mosaic. That shift – from sculpture, like I was doing previously, to flat art – opened everything up. It allowed me to scale, show, and ship my work in new ways. That one experiment became the foundation of my practice. 

How do viewers typically respond to learning that your art is made from invasive species? 

Almost universally, the reaction has been curiosity. Like me, most people I encounter haven’t ever heard of invasive animals or the problems they cause. So, usually, an encounter with a new person viewing my art starts with them asking what it’s painted on, because the texture is so unique. When I tell them it’s invasive lionfish, python, or carp, they inevitably ask questions about what those are. So, I’ve also found my art is great for helping raise awareness. I try to keep up to date on all of the facts about them, so I can really teach viewers who are interested.  

That’s been one of the most rewarding discoveries. Whether someone collects a piece or simply stops to ask what it’s made of, they’ve already become part of the solution. My art engages curiosity, and curiosity is the doorway to change. 

What kind of conversations has your work sparked around conservation and sustainability? 

These conversations happen constantly! The first question everyone asks is how I got started with this medium. That allows me to talk about Amy Siewe and INVERSA, which often leads to conversations about conservation through use, and what other problems that could be applied to.  

Sometimes the person will be reminded of a diving trip they took in which they saw people spear hunting lionfish, or a fisher they know who’s mentioned silver carp jumping out of the river and damaging their boat, or that python hunter they saw on TV. Since I work with all of these, it helps people see the larger picture of invasives and how much damage they cause.  

Some people have been interested in the bigger picture – wanting to know what other damage invasives cause beyond just harming other animals. Those are the most interesting conversations to me because I get to explain how everything is connected. Like how by eating all of the junior fish along coral reefs, lionfish damage the reefs, causing coasts to have less protection from big storms, which can mean loss of life, property damage, and erosion. When people hear stories like that, they really get how important it is to remove these animals, and how every single one matters. That’s the beauty of pairing art with science, it helps people actually feel the importance of restoration. 

What advice would you give to artists who want to align their work with environmental causes? 

I would say to think beyond raising awareness. See if your art can become part of the solution itself. And keep it beautiful. Shock can provoke, misery stops people at the door, but beauty invites. The goal is to make people want to come closer. Make them curious enough that they want to learn more.  

Also, if you do that, learn everything you can about the topic. People will have lots of questions. The more you know, the more worthwhile it will be for them to talk with you about it. Think about your work as an invitation and a conversation starter. 

What’s next for you? Any new species, materials, or themes you’re excited to explore?  

Honestly, I feel like I’ve only begun to explore what’s possible. I’ll continue experimenting with lionfish, python, and carp leathers, and I’m always ready to work with new species as they become available. 

My long-term goal is to create monumental works for spaces – resorts, airports, museums, and hospitals — in the very regions affected by these animals. Each large-scale piece becomes both an artwork and an ecological intervention. I’m currently planning a series of 36-by-36-inch artworks that will each contain around 52 lionfish skins. The five-painting series will account for the removal of about 260 lionfish. I’ve read that a single lionfish can eat tens of thousands of native reef fish in its lifetime. So just these five paintings could save the lives of, literally, millions of native fish. That’s beauty with measurable impact, and that’s the future I’m painting toward. 

Check out Laura Shape’s unique artwork and help support our mission at the same time. For this month only (August 2026), Laura Shape is donating 25% of proceeds to Island Conservation.