Presented by OFFICE IMPART and Blueshift, Down the Silicon Meadow features works by seven contemporary artists calling us to expand cohabitation beyond humans, plants and animals to include machines and technologies. The artists look at connections between organic and synthetic systems, rewilding, and coexistence to see how the two might interact with each other. From machines that sense natural patterns to visualizing technological waste as fertile ground, the works depict ecosystems—real and speculative—where blurred boundaries foster collaboration, resilience, and transformation. Available on the artist-run platform Common.garden, the virtual show presents a variety of mediums including digital animation, sound, real-time simulations and photography. Artworks can be collected on Objkt.com.

Five percent of the revenue will go to the NGO One Earth. One Earth is a nonprofit organization working to accelerate collective action to solve the interconnected crises of biodiversity loss and climate change through groundbreaking science, inspiring media, and an innovative approach to climate philanthropy.

Let's have a walk Down the Silicon Meadow.

What if machines could learn from the cycles of a forest? What if they could carve stones like rivers in need of passage, or grow like roots reaching for water? "Down the Silicon Meadow" explores a world where nature and technology are not competing for dominance but are rather allies, developing side by side. Inspired by biomimicry and ecological entanglement, this exhibition is a story of coexistence, challenging the dualities we know too much: human vs. non-human, nature vs. machine, living vs. non-living. In this vision, machines don’t just use and copy nature—they live with it and within it. They mimic it, adapt to it, and respond to it. It asks us to see the world as one interconnected ecosystem.

The body of work presented in "Down the Silicon Meadow" forms a lush, interconnected landscape of ideas. AFROSCOPE’s work, “Living Technology” invites us to consider the spiritual unity of human bodies and the energy of the Earth, and see technology as a part of nature itself. Alexandra Crouwers’ “Tools (v003)” merges digital remnants with the first human tools to form a speculative time capsule of a collective identity. Bianca Shonee Arroyo-Kreimes’ “Vessel” envisions hybrid ecosystems that travel through cosmic oceans to spread life. Cezar Mocan’s “World Upstream” depicts a surreal scenario of AI leisure in a rewilded environment. CROSSLUCID’s “The Ocean Has Never Been Binary ~ Oceanic Whispers” is a call to remix and, essentially, to dissolve boundaries, just as the ocean reshapes its shores. In his series "The World After Us,” which combines techno-waste and plant life, Nathaniel Stern envisions a posthuman reclaiming of digital detritus. Yoshi Sodeoka’s “Solar Arbor” sets birds and urban geometries into hypnotic loops to redraw the interplay of natural patterns and human-made systems. Among these artworks, regeneration and hybridity are becoming witnesses of the dissolving of hierarchies between nature and machine.

Presented on the artist-run virtual platform Common.garden, the experience offers an intimate and communal journey. Visitors are invited to wander freely in a virtual meadow, like a virtual dance between artworks. Common.garden reimagines the gallery space as one of connection rather than consumption—a playful, adaptive environment shaped by conversation and curiosity.

Text: Diane Drubay

LIST OF ARTWORKS
in alphabetical order

AFROSCOPE
LIVING TECHNOLOGY, 2024
Digital Collage Animation, 2398 × 4260
Edition 25 / 30 tez
Collect here
Living Technology is a meditation on the seamless interplay between nature and technology, where the human body emerges as the ultimate technological creation—alive, dynamic, and intrinsically linked to the Earth's energy flow. This piece reimagines technology not as separate from nature, but as a continuation of its transformative essence, inviting us to consider the spiritual and material unity that connects all life forms.

ALEXANDRA CROUWERS
Tools (v003), 2025
Edition 24 / 60 tez
Collect here
'Tools (v003)' fuses various objects from the artist's studio into a single, 3d scanned assembly. The work is part of an ongoing series that negotiates technologies across time. It is a way of emphasising and participating in the continuum of 'the history of things': reuniting ideas and objects – artefacts, tools and expressions – to form a "visible portrait of collective identity" (George Kubler, 'The Shape of Time', 1962).

BIANCA SHONESS ARROYO-KREIMES
Vessel, 2024
3D animated video loop, 25 seconds, 3840 x 2160 pixels
Sound: Philippe Lambert
Edition 30 / 25 tez
Collect here
"Vessel" explores the concept of panspermia – the theory that sentience is distributed through the universe through traveling, germinating celestial bodies. The video reveals a translucent object drifting in the primordial waters of a desolate world, suggesting a carrier holding the first seeds of life. Neither fully machine nor purely organic, this vessel symbolizes how life might spread across the cosmos: not through organic matter, but through womb-like technological forms that nurture biological life. This work envisions a speculative future where synthetic and organic bodies come together to seed new worlds with hybrid ecosystems that blur machines and nature.

CEZAR MOCAN
World Upstream, 2023-2024
excerpt from real-time simulation, sound
10 unique videos / each 80 tez
Collect here
World Upstream is an inquiry into the aesthetics of leisure. Set in a fictional future which takes for granted the embodiment of artificial intelligence - and with it, the fulfilled techno-utopian promise of freedom through automation - World Upstream asks what remains once labor becomes obsolete. The setting is a strange picnic. A cast of characters - including a wise poplar tree, a group of quadruplets, or a Dyson vacuum, all equipped with artificial minds -, become equal-parts shareholders in re-wilding an ageing piece of infrastructure: a hydroelectric dam on its path towards obsolescence.
World Upstream exists as a live simulation constructed in a game engine, and it presents as a film which edits itself in real time. The storytelling techniques of traditional cinema are replaced by emergent behaviors, as the conjunction of camera movement, character action and environment design leads to the unfolding of proto-narratives: snippets of action and intentionality which live somewhere between the screen and the viewer’s imagination.
The simulated nature of the work also means that the picnic never ends. As long as the GPU fans are spinning and the electricity is flowing, its characters are doomed to continue producing their performative labor of leisure.

CROSSLUCID
The Ocean has never been binary, 2024
MP4, 4K, 1 minute 33 seconds
Edition 25 / 40 tez
Collect here
This opening piece - created in response to the first transmissions of Oceanic Whispers' agent - challenges traditional human vs.nature divides by revealing the ocean as a complex sensorium - that transcends binary classifications. The work maps the blurred boundaries between technology, ecology and governance and establishes how the same technologies that helped us map and exploit the seas now offer possibilities for radical reimagining of our relationship with marine spaces - not as resources to be divided, but as fluid systems demanding adaptive, decolonial approaches to collective care and environmental stewardship.
Oceanic Whispers is a data-driven interactive installation exploring new models of ecological stewardship around Marine Protected Areas. The project combines live AI, intra-active environments, and innovative governance structures to transform complex marine data into meaningful narratives about ocean conservation.


NATHANIEL STERN
Fan Girls / SPIDERING , 2020
staged photograph of temporary sculpture GIF
2707 x 2000 pixels
Unique / each 250 tez
Collect here

Windows / Crossroads / Beats, 2020
staged photograph of temporary sculpture JPG
each 2800 x 2000 pixel
Edition 25 / 40 tz
Collect here
What will digital media be and do, after us? What will my laptop, phone, or tablet look like in a million years? How will our devices weather or grow over time? What else might our techno-waste be, and how might we sense and feel this? Where might electronics lead our environmental and economic politics? Can we plan and act toward new and different futures?
The World After Us exhibition and later NFT collection combine plant life with electronic waste, and scientific experimentation with artistic exploration. These photographs of temporary sculptures take the forms of: digital detritus, reclaimed by plant life; fossilized and reconfigured phones and laptops; and reimagined and re-formed digital tools.
More information: https://nathanielstern.com/the-world

YOSHI SODEOKA
Solar Arbor, 2024
MP4
60 Seconds
Unique / 1111 tez
Collect here
This piece seamlessly intertwines the chaotic beauty of nature with the mathematical precision of physics, creating a mesmerizing interplay of order and unpredictability. Inspired by birds, it features a lone bird seemingly drawn toward the sun, its path guided by invisible forces that suggest gravity and celestial magnetism. The visuals combine intricate vector geometric graphics with organic movement, evoking a sense of cosmic harmony and fragility. This abstract symphony captures the essence of nature’s elegance while exploring the profound relationship between chaos, order, and the immutable language of math.