If you’ve been paying attention to your social media algorithm, or you’ve taken heed of the types of breeds you see on the sidewalk each day, you’ve certainly come across a sharp increase in the number of dachshunds—long-haired, smooth, wire-haired, you name it—gracing your screen and dog park lately. It’s true: the dachshund is the new It-Dog, and nowhere is that more apparent than at Harmont & Blaine. Thanks to the brand’s collaboration with artist Jay C. Lohmann, known for his work with mixed media and collage, Harmont & Blaine’s Miami Brickell Center Flagship location welcomes some special guests: twelve sculptures of the brand’s iconic dachshund, just in time for Art Basel Miami Beach.

The collaboration, titled Basel-ing Blaine, is an amalgamation of all things good. Each dachshund is made using recycled materials, imbuing the collaboration with an element of sustainability at a time we need it most of all. The artistic venture is also philanthropic, as ten percent of all retail sales and 100 percent of all art sales benefited Big Dog Ranch Rescue, a charity dedicated to the rescuing and rehabilitation of dogs big and small. It’s this balance of playfulness and purpose that gives the collaboration its staying power.

At the intersection of art, fashion, and philanthropy, Basel-ing Blaine extends beyond playful spectacle into something more considered. Lohmann’s reimagining of the beloved canine icon transforms a brand mascot into a contemporary art object—one that speaks to sustainability, community, and the cultural moment at large. It’s a collaboration that feels both timely and timeless, and is now on view through December 31. See below, our conversation with the artist.

This is a unique project you're working on with Harmont & Blaine. You're meshing different elements of sustainability in your materials, you're raising money for a great cause, Big Dog Ranch Rescue, and you're also collaborating with a fashion brand. How did this collaboration start?

I did a bunch of cartoon images of that dog four years ago, and that's sort of how it started. I liked working with them, they liked working with me, and they're very conscious of involving artists in their projects.

And you’re using recycled honeycomb plastics?

It's basically just recycled plastic, but it's honeycomb, so there was that sustainable element. So we started with that, and then added collage.

Was there something other than sustainability that drew you to using honeycomb plastics?

It was the strength of it, actually. I knew I had to ship them, so it had to be really lightweight and easy for me to work with. It worked out really well. It's really strong, and so that's what we used.

When people saw the dachshunds, what was their reaction?

There's this point at the Brickell Center where everybody goes to take selfies and pictures for Instagram. It's a bridge where you can see down the street. I said, “Why don't we take one of the dachshunds out there? We'll take some pictures ourselves, and we'll do some Instagram.” Then random people wanted to take their picture with the dog. That gives you a good sense that they actually like it.

Tell us about your process with color and structure in creating these dachshunds.

I wanted to use colors [that really pop] and make it as eye-catching as possible. That's why I did it on the computer, which I don't normally do. I was like, “Let's just go with this,” and I'll mess around with it and see what comes up, and this is what came out.

The honeycomb plastic comes in sheets. I blew up each one, traced it out, and cut it out with a little saw, because it’s pretty strong. It's half an inch thick. Then I wrapped it in cotton, white paper, and then went on top of that with the images in the collage. So they’re essentially created from nothing.

These collage elements are a common through line in your other works. What's your process like for making these collages?

A lot of my paintings are collages that I paint over on top. I start with the canvas, and then I add the collage, because collage is kind of sculptural, in a way. You're basically doing a flat sculpture that I then painted on top of. It's second nature to me to do that sort of work. The papers I used were actually Harmont & Blaine catalogs. All the imagery goes back to their work.

What does that mean for you to be sustainable?

We're in a very crucial moment when it comes to consuming on this planet, and the more each person can do to not waste and throw stuff away and reuse and repurpose, I think we really should all be very aware of that. That's the old person talking, right? There's a limited supply of everything, so we need to be careful about how we use it and what we use. Collage is really just reusing stuff—paper, plastic, and images.

Do you think that you see that happening in the art world now? Or is that something you want to see more of?

I do. A lot of people are. Karen Olivier is an artist, and we work together, and she uses old clothing. She had a huge piece that was a brick wall with used clothing interwoven into it. I think a lot of artists are really thinking about sustainability.

What are you hoping visitors of Basel-ing Blaine take with them after they leave?

That they see something beyond the clothing. I think that they see a company that's actually aware and conscious of what's going on in the world, and is trying to do something thoughtful about it.