Pablo / Plastic Guest

 

In his theory of Gaia, James Lovelock describes the beginning of life as a thin layer of microbes extending through the seas, the deserts and the mountains of the earth, realising chemical exchanges with the atmosphere, turning it into a system capable of regulating itself.

 

We, in our turn, produce and spread many other non-sentient particles into the system. Abundant plastic residues are decomposed by the sunlight and the waves and spread into the air, the clouds, the water and the sediments in the same way that the first inhabitants of the planet did. 

 

Nowadays, even our organs and tissues, and those of whom we eat are vessels of micro and nanoplastics. An invisible company that accumulates across scales. But we are too distracted trying to give birth to consciousness to machines anyways.

 

The corrugated polyester boards reinforced with fiberglass are produced as a basic and cheap roofing, as a polymeric interface between humans and the inclemencies of the outdoors (add molecule). Its waves grant robustness but also the friendly character of a surface of water drawn by a child. 

 

Motives appear by piercing this surface, emulating the effect of the sun, which casts translucent motives onto the surroundings. They hang like frozen drapes crossed by the light, evidencing that the apparent absence of plastics in nature is not such, but  just a problem of scale. In these dubious surfaces,

 

In japan, the Tori, (door / threshold) indicate the passage from one world to another. In a similar way, these elements want to reveal the synthetic vestige, another layer of the landscape that we would rather ignore.