EXOSCAPES embeds a landscape’s own physicality into the work. DNA collected on site, where the image was produced, is embedded into a rendering of the same landscape. The image records what a place looks like; the DNA carries what it’s made of.
The work changes with the light. By day, the photographic surface responds to shifting daylight. As night falls, the DNA (mixed with a luminescent material) becomes visible, tracing the territory’s biological presence across the image. This closeness between image and biological matter collapses the usual distance between viewer and place, and questions the line we draw between culture and nature. It’s also a critique of how landscape art tends to produce an idealized, distanced version of a place, one that erases the territory’s own agency. The landscape rendering is produced with a stack of photographic registries of the landscape, then transformed through a first algorithmic  randomization process, followed by a second manual randomization painting process. The result is an image shaped by noise that belongs to neither human nor machine logic, a landscape that begins to slip away from its own representation. A second body of work in the series, MEMBRANES, takes a more physical approach: readymade and found objects and organic specimens gathered from the landscape, are enclosed in a translucent surface, shifting attention from image to material presence. Here, the DNA is extracted from the organic specimen itself and applied to the work through the same process

EXOSCAPES is part of an ongoing artistic and scientific inquiry built on one idea: a system reveals its real structure not at its center, but at the edge of what it can sustain. The project works at the limits of ecological, technological, and representational systems, treating the limit not as an endpoint but as the place where things become visible. It began in the Atlantic Forest, a biome fragmented past the point where it can sustain itself.