In our contemporary relationship with nature, plants and technical systems are intertwined , transforming both the environment and our own consciousness. The works gathered in this project explore this liminal condition, shifting the focus from the anthropocentric voice to broader ways of understanding our surroundings and ourselves. In doing so, they generate new interactions between art, nature, and technology, and shape alternative regimes of perception.
Far from viewing nature as a passive backdrop, the curatorial proposal conceives of it as an active system of relationships, capable of perceiving, adapting to, and responding to the transformations of its environment. In a context marked by the ecological crisis and the increasing technologization of the world, the biological and the computational cease to operate as separate spheres and instead become interdependent systems, where sensors, infrastructures, and living organisms share a common web of interaction.
From this perspective, the curatorial proposal suggests a shift: it is no longer solely about considering how technology transforms nature, but also how nature incorporates and reconfigures these systems in its own processes of adaptation. This shift implies a reconsideration of consciousness, understood not as an exclusively human quality, but as a distributed network of responses, perceptions, and relationships.
The exhibition is structured around the practices of four artists who, using different artistic languages, address these issues. Cecilia Fiona 's installations and paintings imagine hybrid ecosystems in which bodies, organisms, and matter intertwine in processes of continuous transformation, proposing a worldview based on interdependence and coexistence.
In dialogue with these speculative forms of life, Leticia Martínez Pérez constructs structures that oscillate between the organic and the artificial, activating perceptual mechanisms that shift the interpretation to the viewer and reveal the ambiguity of representational systems. Her works position nature as a field of signs where beauty and danger, attraction and strangeness, coexist.
Leonor Serrano Rivas , for her part, develops sculptural devices that combine scientific processes, organic materials, and symbolic references to generate constantly transforming environments. Her pieces function as living systems in which matter circulates, alters, and reorganizes itself, blurring the boundaries between the natural, the technical, and the alchemical.
Finally, Lola Zoido investigates the relationship between landscape and technology through digital tools such as 3D modeling and virtual reality, resulting in forms that oscillate between the physical and the simulated. Her works address the fragility of an environment whose existence is mediated by processes of capture, translation, and algorithmic reconstruction.
The curatorial proposal conceives of the exhibition space as an expanded greenhouse, where each installation develops its own microclimate and growth rhythm. This device, historically linked to experimentation and anticipation, is activated here as a place from which to explore alternative ways of relating to the environment. Within it, small variations generate new configurations, allowing us to imagine possible futures beyond a logic of control or exploitation.
The room becomes a living landscape, where the pieces are integrated as part of a resonating ecosystem. An experiential space that invites us to rethink our relationship with nature through the body.
Rather than offering answers, the exhibition proposes a change in sensitivity: an invitation to inhabit a world in which perception, matter and life are understood as interconnected, open and constantly transforming processes.
