In the words of Stefanie Posavec: “By visualizing gender data, we bring to light the often-hidden societal inequalities that permeate our world”

Stefanie Posavec is a London-based American creative director, artist and author known for transforming complex data into accessible, human-centred visual experiences. Her work has been exhibited in leading galleries, such as the Museum of Modern Art, the Storefront for Art and Architecture and the Centre Pompidou. She co-authored the award-winning "I am a book. I am a portal to the universe", named one of the Financial Times’ Best Books of 2020. Stefanie has also mentored Central Asian artists through “Art-Kazan: Where art meets data” and participants of Albania’s first gender Datathon under the UN Women “Making Every Woman and Girl Count” regional programme.

“When we visualize gender data in ways that are both informative and emotionally engaging, we foster deeper understanding – and that’s what drives real change. The injustices are deeply embedded in our everyday lives, and data visualization and art allow us to surface them in ways that are both striking and memorable. By transforming data into art, rather than charts, we create emotional works that engage viewers and incite empathy. The deeper connection makes the data more compelling and inspires the viewer to advocate for change.

Much of my work is designed for children, young people and museum visitors – audiences with diverse backgrounds. I aim to make data visualizations that welcome people into the topic, rather than intimidate them with complexity. To do this, I follow a few guiding principles:

• Start with a clear brief – it keeps the design focused.
• Communicate emotion and feeling – I think about how I want people to feel when they engage with the data.
• Speak the audience’s language – I use materials and experiences that are familiar to them.
• Use strong visual metaphors – these help convey deeper messages and make the work memorable.
• Create a personal connection – I treat each visualization as a ‘data experience,’ aiming to make it resonate.

Strong data art begins with the data themselves. When we propose ideas before we have our data, we risk designing for a ‘unicorn data set’ – one that doesn’t exist. Once we begin sourcing real data, we often find limitations or unexpected nuances. That’s why it’s essential to let the actual data guide the creative vision, not the other way around. A concept built around real data is more authentic, impactful and emotionally resonant.

One of my favourite gender data visualizations is the Pudding’s piece, “Women’s pockets are inferior.” This story highlights the significant difference in pocket sizes between women’s and men’s jeans, illustrating how women’s pockets are far smaller and less functional. This seemingly trivial issue reflects broader gender inequalities in fashion and beyond. The project is playful, yet the data collection was comprehensive and rigorous. By documenting and visualizing such a small, mundane part of everyday life, the project shows viewers the pervasiveness of gender inequality in all aspects of life, even in unexpected places. 

I’ve also had the privilege of mentoring artists through Art-Kazan: Where Art Meets Data, a collaboration between UN Women and Central Asian artists. What impressed me most was how each artist made the process their own – drawing on cultural traditions, craft and symbolism to create new visual languages for gender data. These artworks didn’t just communicate facts – they conveyed feelings. And when people feel the data, they’re more likely to reflect on it and carry those insights forward. That’s how awareness turns into dialogue – and dialogue into change.

Two pieces from Art-Kazan deeply moved me. QizUl: girl or boy? revealed a Kazakh tradition of naming daughters in the hopes of having a son – something I hadn’t encountered before. It made me think about how cultural expectations are encoded in everyday practices, and how data can uncover these patterns at scale. Gul Qiz addressed femicide in Uzbekistan by representing 200 lives lost with 200 embroidered tulips. Each flower stood for a woman. The simplicity made the scale of the tragedy instantly clear and impossible to ignore.”