The final exhibition consisted of three large circular rings and five small ones, suspended by transparent threads from the ceiling. This allowed visitors to experience the materiality, lightness, and fragility of the leaves. The rounded format complemented the organic forms of the leaves well, without the mediation of glass or plastic within a framed square. These figures were so light that they rotated even without air in the room, reminiscent of the habitual movement of a forest and its thousands of leaves.
In two corners of the room were cabinets with glass jars, emulating the old containers of an apothecary or an alchemical magic laboratory. Inside them were impossible beings, images of female faces and bodies, embodying spirits and forgotten beings of current science – animated entities from a remote time now considered primitive and ignorant.
There were also boxes, aromatic plants, cyanotype prints, and all kinds of possible elements for creative alchemy – a creation of bygone brews and remedies.
This represents a reality that no one believes anymore, replaced by pills. It confirms that the world is composed only of mechanical movements that respond to action and result – a purely material world understood by modern science, a world that will never again be animated and guided by caring spirits and natural forces.
Science and progress have become synonymous with the environmental crisis due to the forgetting of the spiritual world that once inhabited it.
