TURE, opening , 2026
Ceramics, E-paper display, acrylic glass
15 x 12 cm
TURE, opening imagines a near future in which the distinction between nature and technology has become impossible to maintain.
A ceramic blue morpho butterfly houses an exposed electronic display within its body. Its wiring remains intentionally visible, refusing the illusion that technology exists independently from the material world. The e-paper screen displays the words nature and culture, partially erased until only TURE remains — a shared fragment suspended between both terms.
Referencing the historical collecting and preservation of butterflies as scientific and aesthetic objects, the work reflects on systems of extraction and control that shape both ecological and technological environments. The butterfly becomes simultaneously specimen, archive, and machine.
TURE approaches electronics as geological matter: processed minerals, metals, and ancient earthly resources reorganized into contemporary infrastructures. By bringing clay, glaze, circuitry, pigment, and code into the same fragile body, the work questions hierarchies between “natural” and “artificial” materials and proposes a more entangled understanding of material existence.
The work asks what forms of coexistence become possible when technology is no longer understood as separate from ecology, but as one of its consequences.
15 x 12 cm
TURE, opening imagines a near future in which the distinction between nature and technology has become impossible to maintain.
A ceramic blue morpho butterfly houses an exposed electronic display within its body. Its wiring remains intentionally visible, refusing the illusion that technology exists independently from the material world. The e-paper screen displays the words nature and culture, partially erased until only TURE remains — a shared fragment suspended between both terms.
Referencing the historical collecting and preservation of butterflies as scientific and aesthetic objects, the work reflects on systems of extraction and control that shape both ecological and technological environments. The butterfly becomes simultaneously specimen, archive, and machine.
TURE approaches electronics as geological matter: processed minerals, metals, and ancient earthly resources reorganized into contemporary infrastructures. By bringing clay, glaze, circuitry, pigment, and code into the same fragile body, the work questions hierarchies between “natural” and “artificial” materials and proposes a more entangled understanding of material existence.
The work asks what forms of coexistence become possible when technology is no longer understood as separate from ecology, but as one of its consequences.