By ritualistically hand-dying the coconut and orchestrating a large scale, topographical rangoli, my work brings together human cultural and embodied practices while acknowledging the presence of the non-human world. Using near-expired, non-toxic materials, the artwork becomes a repository of energy for the microbial systems that live within the hotel, feeding organisms that go unnoticed in the human world. Concurrently, patrons are immersed in their own fleshly experience through reverberating colours, softened sound, rich aromas, and the anticipation of taste and touch. The installation splaying across a hotel room floor, transforming slowly over the exhibition run, echoes rangoli’s ephemeral nature; however, at its culmination, the half-digested material will be recycled into new energy through its decomposition by millions of microorganisms, beginning a new cycle.
By ritualistically hand-dying the coconut and orchestrating a large scale, topographical rangoli, my work brings together human cultural and embodied practices while acknowledging the presence of the non-human world. Using near-expired, non-toxic materials, the artwork becomes a repository of energy for the microbial systems that live within the hotel, feeding organisms that go unnoticed in the human world. Concurrently, patrons are immersed in their own fleshly experience through reverberating colours, softened sound, rich aromas, and the anticipation of taste and touch. The installation splaying across a hotel room floor, transforming slowly over the exhibition run, echoes rangoli’s ephemeral nature; however, at its culmination, the half-digested material will be recycled into new energy through its decomposition by millions of microorganisms, beginning a new cycle.
By ritualistically hand-dying the coconut and orchestrating a large scale, topographical rangoli, my work brings together human cultural and embodied practices while acknowledging the presence of the non-human world. Using near-expired, non-toxic materials, the artwork becomes a repository of energy for the microbial systems that live within the hotel, feeding organisms that go unnoticed in the human world. Concurrently, patrons are immersed in their own fleshly experience through reverberating colours, softened sound, rich aromas, and the anticipation of taste and touch. The installation splaying across a hotel room floor, transforming slowly over the exhibition run, echoes rangoli’s ephemeral nature; however, at its culmination, the half-digested material will be recycled into new energy through its decomposition by millions of microorganisms, beginning a new cycle.
Image credit: jamie a mcmillan
By ritualistically hand-dying the coconut and orchestrating a large scale, topographical rangoli, my work brings together human cultural and embodied practices while acknowledging the presence of the non-human world. Using near-expired, non-toxic materials, the artwork becomes a repository of energy for the microbial systems that live within the hotel, feeding organisms that go unnoticed in the human world. Concurrently, patrons are immersed in their own fleshly experience through reverberating colours, softened sound, rich aromas, and the anticipation of taste and touch. The installation splaying across a hotel room floor, transforming slowly over the exhibition run, echoes rangoli’s ephemeral nature; however, at its culmination, the half-digested material will be recycled into new energy through its decomposition by millions of microorganisms, beginning a new cycle.
Image credit: jamie a mcmillan
By ritualistically hand-dying the coconut and orchestrating a large scale, topographical rangoli, my work brings together human cultural and embodied practices while acknowledging the presence of the non-human world. Using near-expired, non-toxic materials, the artwork becomes a repository of energy for the microbial systems that live within the hotel, feeding organisms that go unnoticed in the human world. Concurrently, patrons are immersed in their own fleshly experience through reverberating colours, softened sound, rich aromas, and the anticipation of taste and touch. The installation splaying across a hotel room floor, transforming slowly over the exhibition run, echoes rangoli’s ephemeral nature; however, at its culmination, the half-digested material will be recycled into new energy through its decomposition by millions of microorganisms, beginning a new cycle.
Image credit: jamie a mcmillan
By ritualistically hand-dying the coconut and orchestrating a large scale, topographical rangoli, my work brings together human cultural and embodied practices while acknowledging the presence of the non-human world. Using near-expired, non-toxic materials, the artwork becomes a repository of energy for the microbial systems that live within the hotel, feeding organisms that go unnoticed in the human world. Concurrently, patrons are immersed in their own fleshly experience through reverberating colours, softened sound, rich aromas, and the anticipation of taste and touch. The installation splaying across a hotel room floor, transforming slowly over the exhibition run, echoes rangoli’s ephemeral nature; however, at its culmination, the half-digested material will be recycled into new energy through its decomposition by millions of microorganisms, beginning a new cycle.
Image credit: jamie a mcmillan
By ritualistically hand-dying the coconut and orchestrating a large scale, topographical rangoli, my work brings together human cultural and embodied practices while acknowledging the presence of the non-human world. Using near-expired, non-toxic materials, the artwork becomes a repository of energy for the microbial systems that live within the hotel, feeding organisms that go unnoticed in the human world. Concurrently, patrons are immersed in their own fleshly experience through reverberating colours, softened sound, rich aromas, and the anticipation of taste and touch. The installation splaying across a hotel room floor, transforming slowly over the exhibition run, echoes rangoli’s ephemeral nature; however, at its culmination, the half-digested material will be recycled into new energy through its decomposition by millions of microorganisms, beginning a new cycle.
Image credit: jamie a mcmillan
By ritualistically hand-dying the coconut and orchestrating a large scale, topographical rangoli, my work brings together human cultural and embodied practices while acknowledging the presence of the non-human world. Using near-expired, non-toxic materials, the artwork becomes a repository of energy for the microbial systems that live within the hotel, feeding organisms that go unnoticed in the human world. Concurrently, patrons are immersed in their own fleshly experience through reverberating colours, softened sound, rich aromas, and the anticipation of taste and touch. The installation splaying across a hotel room floor, transforming slowly over the exhibition run, echoes rangoli’s ephemeral nature; however, at its culmination, the half-digested material will be recycled into new energy through its decomposition by millions of microorganisms, beginning a new cycle.
Image credit: jamie a mcmillan
By ritualistically hand-dying the coconut and orchestrating a large scale, topographical rangoli, my work brings together human cultural and embodied practices while acknowledging the presence of the non-human world. Using near-expired, non-toxic materials, the artwork becomes a repository of energy for the microbial systems that live within the hotel, feeding organisms that go unnoticed in the human world. Concurrently, patrons are immersed in their own fleshly experience through reverberating colours, softened sound, rich aromas, and the anticipation of taste and touch. The installation splaying across a hotel room floor, transforming slowly over the exhibition run, echoes rangoli’s ephemeral nature; however, at its culmination, the half-digested material will be recycled into new energy through its decomposition by millions of microorganisms, beginning a new cycle.
Image credit: jamie a mcmillan