Alexis Rockman (born 1962) is an American contemporary artist known for his paintings that provide depictions of future landscapes as they might exist with impacts of climate change and evolution influenced by genetic engineering.

[6] As a child, Rockman frequented the American Museum of Natural History in New York City, where his mother, Diana Wall, worked briefly for anthropologist Margaret Mead.

[12] A series of works by Rockman in the early 1990s, including Barnyard Scene (1990), Jungle Fever (1991), and The Trough (1992), use dark humor in depicting different species mating with one another.

[18] The Biosphere series, referencing Douglass Trumbull's seminal 1971 film Silent Running',[19] envisions a situation where the Earth has become too toxic for human life, and the last vestiges of nature are placed in geodesic domes on space ships roaming the outer reaches of our solar system.

[24] Many of Alexis Rockman's works have been inspired by his travels around the world, including to Costa Rica, Brazil, Madagascar, Guyana, Tasmania, the Galapagos and Antarctica.

[26] Rockman traveled to Antarctica in 2008 with Dorothy Spears, and works resulting from this voyage were featured in the "Badlands: New Horizons in Landscape" exhibit at the Massachusetts Museum of Contemporary Art.

[32] "The Farm" lead to a residency and a body of work of four other 8x10' paintings called "Wonderful World", which was shown at the Camden Art Center in London in 2004.

[36] In 2004, the Monacelli Press publishes an exhaustive monograph with essays by Stephen Jay Gould, Jonathan Crary, David Quammen, and an interview with Dorothy Spears.

[38] Manifest Destiny imagines the Brooklyn waterfront several hundred years in the future, after climate change has caused catastrophic sea level rise.

Rockman began work on the mural in March 2003, consulting with experts in various fields, including Peter Ward, James Hansen and Cynthia Rosenzweig and scientists at Columbia University's Goddard Institute for Space Studies, as well as architects Diane Lewis and Chris Morris.

[6] Rockman shows the outcome several hundred years in the future, depicting both tropical migrants and invasive plants and animals amidst the ruins of the Brooklyn Bridge, the wrecks of a Dutch sailing ship and a 20th-century submarine, a myriad of failed sea walls and other infrastructure designed to mitigate the rising waters.

[45] In this series, Rockman imagines some of America's most famous landmarks and monuments as ruins overtaken by the implications of climate change- sea level rise, ravaged by sand and dust storms and invasive plants and animals.

[46] Cincinnati's Contemporary Arts Center hosted a two-person show with works by Rockman and Tony Matelli in the 2007 exhibition, "Baroque Biology".

[54] Imagining a post human cityscape where the dark past, present and future ecologies collapse, the Bronx Zoo, the New York City sewer system, Newtown Creek and the Gowanus Canal reveal their cryptic secrets.

(2012)[58] Over the course of three years, he completed several dozen watercolor concept paintings and developed, with associate producer Jean Castelli, the "Tiger Vision" sequence.

Rockman's Field Drawings, which first started in Guyana in 1994, have led him around the world from New Mexico, Tasmania, La Brea Tar Pits, Madagascar, Central Park, Antarctica and The Great Lakes.

[61] The Great Lakes Cycle is a series of  five monumental paintings and six large format watercolors and 28 Field Drawings investigating the past, present and future of these bodies of water.

That future might be challenging as the Great Lakes have long been affected by human activity,  and the impact of cities, fishing, industry, farming and invasive species is likely to increase.

Rockman admires the work of Syd Mead,[9] fantasy art and science fiction illustrator Chesley Bonestell, and stop motion animators including Willis O'Brien, Ray Harryhausen, Brothers Quay, Jan Švankmajer[6] and Phil Tippet ; and various Eastern European avant-garde filmmakers.