LIVING MATTERAcrylic on canvas, 2025Elaiza Pozzi The painting presents itself as an open-source system that subverts the binary ontology of nature/culture,... Read More
LIVING MATTER
Acrylic on canvas, 2025
Elaiza Pozzi
The painting presents itself as an open-source system that subverts the binary ontology of nature/culture, living/non-living, matter/form. In a post-anthropocentric world, the scene is configured as a speculative interface of what Timothy Morton would call a hyperstitional object: a vibrant environment where the "natural" is inseparable from its symbolic inscription, and where all matter is already an ontological co-production.
The landscape is not a representation, but an ontopolitical assemblage: a cloud-body, igneous vegetation, a rock-brain. Agents without hierarchy in an ecology without a center. Color, form, and spatial arrangement suggest a non-humanist grammar, where each element acts as a non-hierarchical relational unit, in line with Haraway's sympoietic proposal: creating the world with others, without domination.
Stone, devoid of its anthropocentric function, ceases to be a support or a geological remnant. Living Matter neither denounces nor idealizes. It instills a concern:
What if what we understand as life has been an ideological construct functional to the modern project?
The painting proposes a subtle reprogramming of the ecological imaginary. Instead of "representing nature," it dismantles its syntax and proposes another: a posthuman nature, vibrant, distributed, potentially unintelligible.
