Congratulations on the selection of your work for the upcoming Arte Laguna Prize exhibition. Could you discuss the thematic undercurrents and creative processes behind your selected artwork “Predator 2”?

Thank you! I am very excited to participate in the Venice exhibition. “Predator 2,”  is an enigmatic aluminium and resin tripod (132cm x 60cm x 60cm) that seems to traverse the realms of speculative ecology, botany, gender attributes, and science fiction. It is a piece to think through an eco-feminist lens mixed with a sense of macabre humour. It has strong references to human genitalia, connections between various manifestations of freedom and containment, control, tension and incongruity. “Predator 2” is a phallic seed pod equipped with thorns as noxious defences, depicting nature as the dominant species with human sexual attributes set to lure unsuspecting victims before being ravaged. In 2021, as I was in the process of developing this work, distressing news of sexual violence against women in London compelled me to channel my reaction into my practice.

In what ways do speculative beings contribute to reflections on human-environment relationships?
I view my work as bio-morphic beings engaged in dialogue with the environment, marked by interconnectivity, evolutionary parallels, and unknown futures. In privileging the nonhuman, I advocate reconsidering humans as one among many organisms, each endowed with intrinsic vitalisms and potentialities. Amid climate change and environmental crises, this prompts introspection on our relationship with the plant world. I am particularly intrigued by the shared histories and destinies of human and plant life, revealing underlying power struggles and hierarchies. I find inspiration in nature’s resilience and adaptability, as seen in carnivorous plants like the Venus flytrap. I envision a reversal of roles, where plants assume dominance and humans become subjects of their revenge. This subversion of traditional power dynamics serves as a potent commentary on humanity’s hubris and the need for humility in our interactions with the natural world. By inviting viewers to contemplate this inversion of hierarchies, I aim to provoke introspection and stimulate dialogue about our collective responsibility towards the environment.

Your exploration of the concept of an adaptive alien species as in science fiction, raises intriguing questions about our existence within the context of the environmental crisis. Could you elaborate on the conceptual revelations that emerge from this idea?
Looking at the ecological dimensions of science fiction, I am drawn to the prospect of an imagined future where the role of colonising species is assumed not by humans, but by plants. This speculative scenario prompts profound reflections on the potential ramifications of such a paradigm shift amidst the ongoing environmental crisis. Thinking surrounds the possibility of a biological invasion by an adaptive alien species, equipped to thrive in the face of evolving climate conditions and other abiotic phenomena. This leads me to question what might this look like and how might this serve as a form of renewal.

What inspired this thematic exploration in your work? 

In the summer of  2022, I embarked on a special project with the Saatchi Gallery, creating work in response to the Royal Horticultural Society exhibition. Despite encountering beautiful paintings of nature, I found myself unsettled by the clinical representation in art, in stark contrast to the chaotic, immersive experience of the lived-in natural world. This pivotal moment shifted my work from aesthetic creations to profound critiques of environmental exploitation.

How would you describe your studio process? And could you talk about your choice of materials?

My process begins with a period of intense research spanning an array of disciplines—from science and ecology to speculative fiction and art. This informs the narrative of my work, guiding the development of a cohesive collection. Favouring bright colours and thoughtful material selection are important aspects of my practice. Embracing the ethos of sustainability, I mainly use natural materials, pulp, paper, seed pots, vegetables, found objects or up-cycled items such as shower hoses. Depending on the material, I collaborate with 2 or 3 skilled craftsmen to assist me with specific techniques in the process. I usually start with clay and then I cast with various materials. 

I also think about challenging perceptions. For example, the piece “Predator 1,” (152cm x 182cm x 182cm) is a surreal fusion of botanical and female genitalia elements with a dentata armour, elaborated in a soft leathery foam material. I encourage people to touch the piece as the material’s softness juxtaposes its menacing nature, confronting viewers with its uncanny duality.

Despite the dystopian undertones in your artwork, you seem to maintain an optimistic outlook for the future. How do you perceive the role of art in driving social change?

I am an optimistic person. Although we are the antagonists in climate change and the degradation of nature, I believe there is potential for redemption and renewal. As Gaia Vince states in her book Adventures in the Anthropocene, ‘In the post-natural era of the Anthropocene, we will have to either preserve nature or master its tricks artificially.’ Humanity possesses an innate capacity for innovation and problem-solving through scientific developments. It is highly likely that we will come up with various solutions, like scientists came up with the covid vaccine. I do think there is hope as we take better care of the environment and listen to what nature has to say.

Art serves as a powerful medium for communication and expression, providing a platform to provoke thought and inspire action. Particularly in the context of addressing environmental concerns, art has the ability to foster empathy, raise awareness, and spark dialogue. I believe that my work resonates particularly with younger audiences, who may be drawn to the fantastical elements and themes embodied by the superpowered plants. Engaging with art cultivates a sense of curiosity and imagination but also encourages critical thinking and reflection on complex issues.

Could you provide an insight into the interactive pieces you are currently working on?

Currently, I am immersed in the creation of a collection of interactive eco-morphic characters designed to promote the earth’s repair and renewal. Each character—Luciferina, Officina, Mucro, Cacturon, and RooIT—features elements such as sound, light, wind, scent, water, and viscous fluids, activated by the visitor’s proximity. This experience invites audiences into sensory experiences. Collaborating with sound artist Shane Mendonsa, we have crafted unique bio-voices for each character, inspired by recording of plants in their natural habitat. 

I have researched the realm of speculative evolution, imagining how plants could evolve with a purpose to cope with the challenges of our changing world. For instance, I envision plants capable of projecting intense beams of light as offensive weapons, or emitting healing scents for regeneration. Others may assist seed pods in reaching distant locations through the propulsion of fans. It has been great fun identifying what the plants could contribute to healing the planet. I hope to inspire a renewed sense of wonder, and reverence for the natural world, encouraging collective action towards environmental preservation and regeneration.