MICHELA BARONE LUMAGA

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Synthosphaera questions our understanding of nature by exploring the relationship between perception and reality.

Synthosphaera illustrates a possible scenario that materializes the concept of Antropocene, a theory debated among scientists that drastic soil exploitation has cau sed the emergence of a new geological era. This installation demystifies nature as a lost Eden and embraces a new type of ecology in which the animal and vegetal become intertwined with man’s inhabitation processes. As nature adapts, mutations become more extreme, and biodiversity decreases, will synthetic systems gradually substitute for natural ones? In 50 years from now will we consider a soft plastic habitat to be as sincere as a vegetal one?

Synthosphaera negotiates new boundaries for this interpretat ion of the natural realm, providing an artificial solution to the ecological depletion of future human life.

Speculating on a dystopian future in which nature that surrounds us might be synthetic, Synthosphaera displays a polyurethane skin whose form is reminiscent of a weeping willow. The shape of Synthosphaera’s upside-down topography alludes to the sensorial, Mannerist grottoes of Florence’s Boboli Gardens, while also referencing inverted architectural maquettes such as the Gaudy’s gravity pulled strings model for the Sagrada Familia. Assembled from 2mm polyurethane sheets, this milky, rubbery material recalls lab created tissue. Mimicking the structure of a hanging garden or a cave, this suspended biomorphic formations invites audience participation through physical interaction and tactile exploration.