series: WOULD NATURE MAKE ART? 

ROCK pigments, polymers, acrylic glass, photography. Location: 46°44’27.6”N 9°19’54.5”E (Swiss Alps)
TREE pigments, polymers, acrylic glass, photography. Location: 46°44’42.9”N 9°20’43.8”E (Swiss Alps)
WATER pigments, polymers, acrylic glass, video, photography Location: 46° 41’ 50,46” N 9° 19’ 27,378” E (Swiss Alps)

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 in the documentation is the subject of the work whilst the man-made 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 

(please note these images are mock-ups. photography of the final works are in progress)

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





series: APOSEMATICA 

MILLEPORA pigments, thermoplastic polymers, acrylic glass, tulip wood, architectural film 1300mmx1180mm



series: APOSEMATICA

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

Humans have a very complicated set of rules and systems to obtain ‘correct’ color. This set of tools, called 'color management' tries 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. 
A 'capturing' of color presented by nature at a time and place, and a ‘re'presenting of it.