In Post-Anthropocene depicts a dystopian landscape where nature is reclaiming its space. She is emerging from the concrete ruins of a past civilisation. In the desert landscape, human figures appear in the foreground, evanescent as memories.

However, the work intends to go beyond the simple depiction of an antithetical relationship between man and nature. With a closer look, we discover that a symbiosis, a mutual relationship, is taking place, in which vegetation supports the ruins and becomes an integral part of them; reconstituting their architecture.

I have been inspired by small events that we often overlook in the everyday life, such as when walking down the street I see with surprise a plant emerging from the concrete. The work invites us to grasp the meaning that constitutes our passage in relation to the environment, projecting our gaze into the future.

Painting and sculpting with wood and concrete becomes a metaphor for a dialogue between architecture and nature.  An Oxymoron, an ambiguous conflict or dance between organic and geometric forms, between ruins and prosperity.

 “Years ago I visited the Barbican in London, a brutalist architecture with a magnificent botanical garden inside which inspired a lot my actual artistic research. It was fascinating watching the vegetation overtaking the architecture, the vines climbing over the walls to reach the light, reclaiming their own space. A symbolic dialogue that often occurs even while walking along a paved road… when suddenly a root or a flower emerges from the cemented city.”

Cement has been used as a binder since ancient times. Unfortunately, as a result of global industrialisation, concrete is now responsible for 8% of the world´s CO2 emissions into the atmosphere. This is largely due to the energy and resources used in the production of concrete and its components, in particular clinker cement.

“Thanks to the collaboration with a startup called EcoLocked , I have been given the opportunity to use a special concrete, partly composed of biomass, derived from organic waste (See some of the result in my other project “Metamorphosis“). This special mixture compensates for the environmental impact of cement processing, thus becoming carbon neutral… this material is currently being used for constructions, dreaming and moving towards a better future.”

Ecolocked recycles wood by slowly burning it in a chamber with very little amount of oxygen (Pyrolysis ) in order that no extra fuels are needed. Thorough this process you hace produced ashes which are carbon negativ, and by mixing them with a certain ratio with less cement and sand as usual you get a carbon neutral concrete.

„TransWood“ is a manifestation of different stages of wood: the legs are composed of branches I have found in the woods of Bernau. The top part is cardboard, a super delicate material used for packing which I have recycled, and the geometric basement as well as the middle darck block, are made of Bio-concrete gently offered by Ecolocked.

“Prometheus and Captivity” presents a series of paintings where fire’s elemental force takes center stage, symbolizing the primal representation of “Anthropos” in evolutionary history. Fire’s mastery marked a pivotal moment, reflecting humanity’s first foray into controlling nature for its needs. Yet, mishandling this potent force can result in substantial harm to both humanity and the natural world, embodying themes of transformation, entropy, and decay.

In Brazil, the inspiration behind the inaugural painting, “Post Anthropocene,” climate change has intensified droughts and wildfires, a crisis not confined to Brazil alone but prevalent across many nations. Amid this chaos, a remarkable phenomenon unfolds—certain plant species have evolved to withstand and survive fires, a critical adaptation to circumvent widespread extinction.

This resilience within nature is truly enchanting, revealing its ability to endure and adapt amidst extreme adversity. These plants’ survival strategies stand as a testament to nature’s remarkable resilience and its capacity to thrive in the harshest conditions. It’s a profound demonstration of how, even in the wake of devastation, the natural world perseveres and rejuvenates.

However, the historical context of fire management in Brazil reveals a significant shift in perspectives, from the longstanding ‘Zero Fire‘ policy during colonial times to a gradual evolution in understanding and approaches towards fire. Until the 1970s, fire was largely excluded, even in ecosystems dependent on it, but as scientific studies emerged, a recognition of the adverse effects of fire exclusion surfaced. Loss of biodiversity and the accumulation of combustible materials, leading to catastrophic fires, became documented consequences.

In response, the Integrated Fire Management Strategy (IFM) emerged in 2008, primarily applied in federal protected areas. This strategy not only controls fuel and reduces wildfire risks but also integrates traditional fire management practices of local communities, fostering potential solutions to conflicts. Despite its successes, the widespread implementation of IFM remains limited, primarily confined to fire-dependent regions like the Cerrado.

For private lands, a general fire management strategy is lacking. Fires are employed for various purposes, including land clearing for future agricultural use, managing agricultural or grazing systems, and within slash-and-burn practices prevalent among subsistence farmers. While some uses of fire for agricultural purposes may be legal with authorization, a significant portion of current fires, especially those associated with deforestation and native vegetation suppression in areas like the Amazon and parts of the Cerrado, are illegal.

There have been instances where policies succeeded in reducing fire use when alternatives existed, such as in sugarcane plantations in the southeastern region. However, for many smallholders dependent on subsistence activities, fire remains a cost-effective and sometimes the only viable option. While alternative technologies exist, support is necessary to implement these changes and provide market access to local producers shifting their land management practices.

A clear, comprehensive strategy for fire management on private lands is yet to be formulated, one that allows controlled and beneficial fire use while avoiding scenarios where the negative impacts outweigh the benefits. This strategy should strive to balance conservation efforts, sustainable land use, and the livelihoods of local communities.

I found a piece of wood in the garden of my art academy… I have tried to transform it into one of my sculptures but it was rotten and not possible to use it. Thanks to the fire it became much more solid and I was able to sculpt it and created “Treating sculpture as a landscape”: a sort of burned landscape in a small scale, similar to a diorama. However, the interesting and beautiful thing is that after I have left the sculpture outside for couple of months, even though the wood was burned, it gave life to some mushrooms that grew on the surface.

I think the very famous quote from Antoine Lavoisier is worth to mention now:

“Dans la nature rien ne se crée, rien ne se perd, tout change.

In nature nothing is created, nothing is lost, everything changes.”