series: WOULD NATURE MAKE ART? 

‘ROCK’ Location: Innerbergruiti, Schiessstand. 46°44’27.6”N 9°19’54.5”E
‘TREE’ Location: Grossruiti, Sattel Weide. 46°44’42.9”N 9°20’43.8”E
‘WATER’ Location: 735 Walserweg Safiental Stage 2. 46° 41’ 50,46” N 9° 19’ 27,378” E

Isn’t it conceivable that man will ultimately be molded by the force and portentousness of nature?  
Would nature make art? Or does this question, even in asking, enable us to see ourselves and our endeavours in a new light in relation to nature? The idea of landscape is fabricated by man - the landscape being a thing to be viewed as scenery, setting and painting. Looking at landscape as a verb - ‘land’ (or broadly ‘nature’) is in the passive position and is the object acted upon, or shaped by man. This series of works inverts that thought and presents the idea of ‘nature shaping man’. Plastic substrates painted with highly artificial, man-made pigments are literally shaped by the natural elements.  Nature takes the active position, and so is the subject of the work, whilst the works are merely the object.
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Paper: Thinking about Land Art through a Anthropononcentric Frame. Art Safiental 2018. Tenna, Switzerland.


series: APOSEMATICA 

Aposematic is term coined for the concept of warning coloration in nature (apo - away sema - sign).

1. ANENOMIA pigments, polymers, acrylic glass, tulip wood box frame, architectural graphic film, 15sec video loop 1300mmx1250mm
2. LEOPARDUS pigments, thermoplastic polymers, acrylic glass, tulip wood box frame, architectural graphic film, shell. 850mmx1650mm
3. DATURA pigments, thermoplastic polymers, acrylic glass, tulip wood box frame, architectural graphic film. 1400mmx1110mm





4. MILLEPORA pigments, thermoplastic polymers, acrylic glass, tulip wood box frame, architectural graphic film. 1300mmx1180mm

(please note these images are mock-ups. photography of the final works are in progress)
To obtain ‘correct’ color, humans have a very complicated set of rules and systems called Color Management.This set of tools try to preserve, as much as possible, the colors that present themselves through nature via light. It is a process of trying to manage or control something which in its essence is not controllable. The colored panels behind the transparent paintings represent this translation from nature-produced color to man-produced color.  A mathematical interpretation of the color was obtained with a camera and color sensing app and those numbers were then processed through monitors and printers to obtain a man-made version of the original color. In essence a 'capturing' of color presented by nature at a time and place, and a ‘re'presenting of it.