These buried textiles take on the gestural and free form mark making of abstract painting, by relinquishing creative agency to serendipitous organic processes that reveal the unique microbiology of selected natural sites. Animating the textile with electric motors in ‘Portrait of Goldsmiths Art and Ecology Allotment (Kinetic)’, enables further serendipity through the asynchronous movement that puts this work into constant flux and continuous reinvention.

‘Portrait of Goldsmiths Art and Ecology Allotment (kinetic)’ enables serendipitous methodologies that emerge through the entanglement of nonhuman, human, and mechanical agency. It bears marks contingent on the microbial makeup and insect and plant life of a site specific section of earth, suspends itself in constant motion based on programmed movement that uses asynchronicity to continuously invent new forms. Movement gives a sense of life to this textile when combined with digital systems, in a methodology that intentionally decentralises human agency and imagines speculative postnaturalist futures.