Our epic adventure will therefore appear as a bygone era, a brilliant struggle to conquer time and space, a ripple through unknown interspecies dimensions. Nature continues without us, as in Natura Naturans of Spinoza or in the organic and dreamlike installations of Ernesto Neto, highlighting the network of the living (Gaia, Mother Tree) continuing its development even after human influence. Is there a possibility of alternative reworlding, fostering a coherent, sustainable interaction with the intrinsic web of life while we are still part of it?
In this work some of the mold and water stains are in unnatural colors, made by humans or some other future chemistries. Some of the lichen is real, dried and stabilized, or taken from the forest. Others are “fake,” a re-creation, or re- production, using materials in representation, such as acrylic paint or plastic.
This confusion evokes an uneasiness about the nature of reality, our limited senses, and the difficulty of trying to process hyperobjects. The same type of questioning is found in Adrian Villar-Rojas’s (Where the Slaves Live) tank ship, consisting of real and represented layers of mixed earth, concrete, weeds and waste, landed somehow on the terrace of the Vuitton Foundation, proof if there is an artistic convergence, the urgency of expressing our paradoxes and doubts.
That is why we are invited to expand our consciousness to elements beyond the human scale. We can use the wordless subconscious language of creation to save the wind, speak to rocks, read the many stories written in a fragment of plastic, invent new data and materialisations, position the quanta, design our geological imprint.