The proposal contemplates two modalities of participation, each with 200 participants.

The study measures the levels of ecoanxiety and solastalgia before and after the visit to the sample (in both modalities) and evaluates changes in vocal prosody.

The surveys were administered through online forms for the virtual modality and in person for the Catalonia group, guaranteeing confidentiality and informed consent. A descriptive (frequencies and percentages) and comparative analysis between the groups was performed. The results are interpreted in the context of the literature on ecoanxiety, well-being, and pro-environmental behaviors, and the implications for the future in the absence of comprehensive interventions are discussed.

Recent advancements in interdisciplinary research have highlighted the importance of using multimodal approaches to study emotional and cognitive responses to nature-based art. Within the fields of affective neuroscience, environmental psychology, and art therapy, there is increasing consensus that emotional states are best captured through a combination of verbal, nonverbal, and physiological indicators. Building on this framework, our study adopts an integrative methodological design to explore the emotional and psychological effects of biophilic art experiences. This approach is grounded in the recognition that eco-emotions such as eco-anxiety and solastalgia manifest not only in conscious verbal reflection but also in unconscious somatic and expressive cues.

The selection of tools-vocal analysis, microexpression coding, natural language processing (NLP), and drawing interpretation-responds to this scientific rationale. Vocal expression has been shown to reflect subtle emotional states through prosodic features (Babin et al., 2023), while microexpressions offer insight into involuntary affective responses often not accessible through self-report (Bourriaud et al., 2002). Relational Aesthetics NLP allows for the systematic analysis of semantic and emotional content in participant narratives, aligning with recent work in computational affective science (Massumi, 2002). Drawing analysis, meanwhile, draws on art therapy and symbolic interpretation to access imaginative and emotional material that may not be easily verbalized. Each modality captures different dimensions of the participant experience, thus contributing to a more holistic understanding of the emotional impact of biophilic engagement.

To ensure reliability and coherence across these diverse modalities, we employed a triangulation strategy in which data from different sources were cross-referenced to identify convergences or discrepancies. This framework not only strengthens the empirical validity of our findings but also aligns with current standards in mixed-methods and human-centered environmental research. By integrating physiological, expressive, linguistic, and symbolic data, our study contributes to the growing body of literature advocating for complex, embodied approaches to the study of human-nature-art interactions.

Study design and setting. We conducted a pre-post, within-subjects observational study assessing emotional and cognitive responses associated with Biophilia and Art -Jungles and Forests. Data were collected in two settings: (a) on-site, during the exhibition held in Costa Brava (Girona, Spain), and (b) online, via a secure web-based form with participants from multiple Latin American countries. Both modalities used the same instrument and standardized instructions.

Participants and recruitment. We used a voluntary, convenience sampling strategy. On-site participants were approached at the exhibition entrance; online participants accessed the survey through institutional communications and professional networks. Eligibility criteria included being ≥18 years old and having sufficient Spanish reading comprehension to complete the questionnaire; participation was not incentivized. We did not target vulnerable populations, and minors were excluded by design.

Measures and instruments. Data were obtained with a structured, self-report questionnaire designed to capture eco-anxiety, solastalgia, affective states related to aesthetic experience, perceived connectedness with nature, and self-reported intentions toward pro-environmental and prosocial engagement. Items and response formats were informed by prior literature on environmental emotions and nature-related well-being. The instrument was administered twice (immediately before and immediately after the exhibition experience or its virtual equivalent). Demographic questions were minimal and optional (e.g., age range and country) to uphold data minimization principles. Internal consistency and item performance were examined as part of the analysis pipeline; details are reported alongside results.

Questionnaire structure. The instrument consisted of 24 items grouped into four thematic dimensions:

Responses were recorded on a 5-point Likert scale (1 = strongly disagree to 5 = strongly agree). Pre-post change was used as the main indicator of the exhibition's impact.

Procedure. In the on-site modality, participants completed the "pre" survey prior to entering the exhibition space and the "post" survey immediately after the visit in a quiet area adjacent to the exit. In the online modality, participants first read the information sheet and consent statement; the pre-exposure module was completed, followed by the curated digital experience, and then the post-exposure module. Instructions emphasized that responses should reflect immediate, first-person perception. Average completion time and flow were monitored to ensure comparability across modalities.

Data quality safeguards. We implemented routine screening for completeness (mandatory core items), logical consistency, and implausibly short completion times that might indicate inattentive responding. Partially completed records lacking the core pre-post-measures were excluded from analysis. The final analytic sample and exclusions are reported in the Results section.

Informed consent. Participation was fully voluntary and could be discontinued at any time without penalty. Prior to any data entry, participants received a clear information sheet describing the study aims, procedures (pre-post surveys around the exhibition experience), expected duration, potential risks/benefits, data handling, anonymity, and contact details for the research team.

No economic compensation was offered. Participants were informed that aggregated findings could be published and that no individual could be identified.

Risk–benefit assessment and support. The study was classified as minimal risk. Potential risks included transient emotional responses (e.g., sadness or concern) when reflecting on environmental issues. Risk mitigation included (i) emphasizing voluntariness and the right to skip any item, (ii) encouraging breaks or withdrawal without consequence, and (iii) providing a debrief note with contact information and general well-being resources. Anticipated benefits included increased reflection on nature connectedness and aesthetic well-being.

Ethical oversight. The protocol was reviewed and approved in June 2024 by The Wellbeing Planet's internal research ethics process, confirming adherence to internationally recognized standards (e.g., Declaration of Helsinki). No procedures involving deception, biological samples, or clinical interventions were included.

Transparency and reproducibility. The finalized questionnaire, codebook, and analysis notes can be made available upon reasonable request to the corresponding author, subject to privacy safeguards and alignment with the original consent terms.

The artistic exhibition significantly reduces eco-anxiety in both groups, with a greater impact on the face-to-face environment. The difference in baseline and magnitude of improvement reinforces the potential for interventions that combine artistic experiences with psychosocial support to transform environmental anxiety into resilience and action (see Table 1)

This comparative analysis details in a clear and structured way the pre- and post-exposure effects in the virtual and face-to-face samples, highlighting both the initial differences and the differential impact of the intervention. The following graphic (Figure 1) presents the other lines of research to build a comprehensive vision of the emotional impact of the exhibition “Jungles and Forests”.

As seen above, both modalities managed to reduce eco-anxiety significantly. The face-to-face experience showed a greater reduction (60%) compared to the virtual one (50%), suggesting that the immersive experience has a greater effect on emotional regulation. Regarding the item "Alignment with the artist", the face-to-face modality allows a more direct connection with the work and the artist's process, so there is a key difference in the face-to-face experience; the interaction with the physical work and the sensory environment enhances emotional resonance.

With respect to satisfaction with the work and connection with nature, the face-to-face participants expressed a deeper satisfaction with the work, compared to the virtual one, and almost the same difference applies to the item of stronger connection with nature and introspection, while in the virtual one, it was 50%. Finally, with respect to the expression of surprise and admiration, there is a significant difference in the in-person interaction with the artistic elements; it has a stronger impact on the aesthetic emotion and the sensory experience.

The artist's data, the basis for the analysis, were collected during the creation of the work (one month of work), which made it possible to compare his emotional state with that of the participants in both exhibitions. The predominant emotional state in him was calm and contentment ( Table 2 ). There were moments of confusion and surprise in the phases of creative exploration, but expressions such as anger, disgust, or sadness had almost no presence.

Before the exhibition, alignment with the artist, doubt, and fewer calm. The face-to-face both group had lower reflected in high levels of expressions of introspection, or group had a lower starting lineup, with a lower relaxed tone of voice and calm expressions compared to the virtual group. After exposure, both groups experienced significant improvements, with an increase in tranquility, introspection, and satisfaction. The face-to-face group showed superior alignment (up to +60% in relaxed tone of voice), and expressions of doubt and anxiety were further reduced (-40% vs -30% in virtual). In both modalities, they managed to emotionally connect the participants with the artist, but the face-to-face experience generated a stronger alignment in terms of tone of voice, introspection, and satisfaction with the work. ( See Figure 2)

A central element in understanding the emotional impact of the biophilic art experience lies in the affective relationship between the artist and the visitor. Although the two are not physically co-present, the artwork functions as a relational interface through which the artist’s ecological vision and emotional intention are transmitted. Drawing from relational aesthetics (Bourriaud et al., 2002) and affect theory (Massumi, 2002), we conceptualize the visitor’s emotional response as shaped not only by the sensory qualities of the artwork but by their perceived connection to the artist’s expressive intent. This connection is established through symbolic composition, spatial atmosphere, material choices, and narrative structure, which collectively create a context for affective attunement. In this view, the emotional experience of the artwork is not a solitary aesthetic event, but a relational process in which the visitor becomes affectively engaged with the ecological and emotional meanings embedded by the artist.

This dynamic becomes particularly relevant in biophilic and nature-based art, where the artwork serves not just as a visual object but as a mediating environment for emotional identification and ecological empathy. Recent studies in neuroaesthetics suggest that viewers often experience empathetic resonance with the artist's perceived emotional state, which is processed through expressive visual cues and narrative cohesion (Chatterjee & Vartanian, 2014)(Vessel et al., 2022). Furthermore, environmental aesthetics research emphasizes that perceived authenticity and artistic intentionality amplify emotional impact, especially when ecological themes such as loss, awe, or restoration are involved (Carlson, 2005);(Brady, 2022). This affective bond remains active even in digital formats, where immersive design and narrative coherence can sustain emotional presence and empathic connection (Babin et al., 2023). By framing the artist-visitor interaction as a relational, affective mechanism, this study provides a deeper explanation of how biophilic artworks evoke introspection, reduce eco-anxiety, and facilitate emotional regulation through shared symbolic meaning.

We separate this section into two parts: the perception of the participants and the expressions.

To evaluate the emotional impact of the "Jungles and Forests" exhibition, the following pre-and post-exposure indicators were analyzed in both modalities (virtual and face-to-face), taking as a reference videos recorded before and after the experience:

The comparison between the two modalities allows us to identify to what extent the face-to-face immersive experience generates a deeper emotional impact compared to the virtual experience ( See Figure 3)

As mentioned before, one of the goals of artist Duván López's exhibition is to foster greater environmental awareness and motivate participants to adopt behavioral changes that reflect a deeper connection to nature.

To assess this impact, five key indicators were measured before and after exposure in both modalities:

Quantitative metrics (using a scale of 1 to 5, where 1 represents a very low motivation or commitment and 5 a high motivation or commitment) and qualitative metrics were established for each indicator, being evaluated in two moments (before and after the presentation) and in two modalities: virtual and face-to-face. This made it possible to compare the evolution in each aspect and determine to what extent the artistic experience influences environmental commitment.

Regarding the positive impact, the results show that, both in the virtual and face-to-face modalities, the five indicators experience a substantial increase after the intervention. This confirms that the artistic experience has a transformative effect on the environmental commitment of participants.

There is an advantage of the face-to-face modality: although both modalities improve significantly, the face-to-face modality tends to have slightly higher scores in all indicators. This suggests that direct interaction with the natural environment and the physical experience of exposure can deepen the emotional and motivational connection.

Finally, with respect to the change in behavior and environmental awareness, the decrease in the ecological footprint, the increase in interest in environmental actions, the predisposition to modify daily habits, the greater sensitivity to nature, and the increase in community participation show a comprehensive transformation in the attitude of the participants. These changes translate into sustainable behaviors and greater environmental awareness. These results support the implementation of artistic and biophilic interventions in public health and environmental education programs, promoting not only greater environmental awareness but also concrete changes in sustainable habits and behaviors.

The present study captured the immediate, short-term impact of the exhibition Biophilia and Art -Jungles and Forests by measuring emotional and cognitive responses before and directly after exposure. This design provided valuable insight into acute shifts in eco-anxiety, solastalgia, nature connectedness, and prosocial engagement. However, it did not include longitudinal follow-up, and therefore cannot establish whether these psychological changes were sustained over time or translated into consistent pro-environmental or community-oriented behaviors.

We acknowledge this as a central limitation of the study. The decision to focus on immediate effects was driven by the exploratory nature of the project and by resource constraints inherent in cross-cultural and multi-modal data collection. Nevertheless, long-term outcomes are crucial for understanding whether biophilic artistic interventions can foster lasting resilience, ecological awareness, and behavioral transformation. Future research should therefore incorporate follow-up assessments at multiple intervals (e.g., one month, six months), compare responses across repeated exposures, and explore whether acute effects predict measurable changes in environmental attitudes, community resilience, and well-being in the longer term.

This research did not receive any specific grant from funding agencies in the public, commercial, or not-for-profit sectors/individuals.

This study was approved by the Ethics Committee of The Wellbeing Planet Research Board, approval no. TWP-2024-07, date July 1, 2024. All participants were informed about the purpose of the study and provided consent prior to participation. The study complied with all relevant ethical standards for research involving human participants, ensuring anonymity, voluntariness, and confidentiality.

The author(s) declare that there is no competing interest.