The Kitsch Flower:
“the call to slow down and scale back, is a possibility available only to the few - a violent particularity of exclusivity” — Laboria Cuboniks
The witch hunt is an appropriation “to end the use of natural resources as ‘commons’ [through] the process of enclosed land, expropriating folk wisdom, criminalising practices of ‘voluntary intoxication’, and privatising plant germ plasm” (Perciado, 2008)
to benefit the marketisation of pharmacology. Testo Junkie’s understanding of the witch hunt triggered an emotional retaliation to the class and capital of nature connectedness. We must reclaim this experience in a new but alchemic and witchy manner as a way of dismissing the capitalisation of pharmacology in order to encourage DIY practices for self-care methods and intimate examinations of our anthropocene.
As the human dominance on the environment grows with the masses, our discrete and private curiosity about wilderness does not, which is where the experimentation with aesthetics of monotony in wild-plant stock photography comes from. By playing with these google image visuals, perhaps we can invert how desensitised to nature we have become (in part) because of them.
The works exhibit an interpretation of sorcery through the digital where new encounters of nature connectedness can take root. While these graphics seek to re-sensitise the viewer to plant remedy potential politics through electronic screens, they investigate the perception of magic as technology.
Working with these given images also acts as a meditative exploration, and as a way of “rekindling with nature through different relaxing strategies that have been pluralised since the rise of digital technologies, such as nature sound recordings or cat videos.” — Gwen Barnard
- The application of the word “nature” in this text is used in a stereotypical manner; we recognise that this can also describe humans, materials, synthetics, evolution, energies, technologies and practically everything.
- “The radical opportunities afforded by developing (and alienating) forms of technological mediation should no longer be put to use in the exclusive interests of capital, which, by design, only benefits the few. There are incessantly proliferating tools to be annexed, and although no one can claim their comprehensive accessibility, digital tools have never been more widely available or more sensitive to appropriation than they are today. This is not an elision of the fact that a large amount of the world's poor is adversely affected by the expanding technological industry (from factory workers labouring under abominable conditions to the Ghanaian villages that have become a repository for the e-waste of the global powers) but an explicit acknowledgement of these conditions as a target for elimination.” — Laboria Cuboniks