“The nostalgia of what we had, the pride of what we have and the fear of what we may not have.” In spite of practicing in different parts of the world, the artists are working along the concept of nature, the biosphere and the idea of presenting death in the hope of the future.
“We are observing this phenomenon as by-standers, unable to contribute to the cure within our (human) interaction with nature...”

Allison Kudla presets a set of photographic prints titled Manicured Field from her Growth Pattern series, which began in 2008. In this piece, a living natural system takes on the form of a manufactured pattern. Leaves are intricately cut into a bilaterally symmetrical Arabesque pattern and suspended in tiling square Petri dishes that contain the nutrients necessary to promote new leaf growth. Here the cultured leaves are provided with the hormones that cause the cells to produce new leaf tissue. The newly growing leaves are extending the form of the traditionally inspired botanical motif.

The ‘green’ print is the initial plate created by Allison, and the ‘brown’ plate is the same plate over a period of time, where the leaf tissues have decayed. The process of generation and degeneration is an integral part of Allison’s work.

Ratna Gupta’s work is a documentation of her life and her surroundings. Her latex works that have been cast by the barks of specific trees and the root of the tree that is cast in fiberglass are all frozen moments of passage of time that she has captured and made immortal. Like a photograph. The process of creating these works, until the final outcome is all a part of the work. She believes that at some point, we will not be able to enjoy what we have now, and therefore she is presenting ‘death’ in the hope of the future.

Tatiana Musi created this body of work, “Mind Fills” during her residency in Varanasi. The garden there became a part of her everyday life, where she took plants from it to be transplanted into containers that are used by the people of Varanasi in everyday life. The installation consists of containers are all used items either found, exchanged for new ones or bought around Varanasi, from tea stands, food stands, vegetable stands, recycling spots and even a beggar's money collecting pot. In this way the garden comes together with the city that surrounds it through objects of everyday life thus creating an ordinary garden. Her paintings are a visual, emotional and atmospherical reconstruction of the memory of the garden created in very painterly, but yet minimal style.
 
Teresa Gruber’s Tree Portraits were taken on site using a white backdrop and natural light – bringing the photo studio into the forest instead of digging up and stirring the protagonists. As all characters are of German origin they have the habit to change their fashion in the course of the year. Some of them were portrayed in their autumn mood, standing naked within the dead leaves of their fathers and mothers. Naked and already budding, already full of energy – which they gather from the moldering dead leaves and during the winter pause. Months later they present themselves in innocent green, full of ambition to compete and to grow.
 
Soazic Guezennec reflects a deep ecological sensibility, and a concern about our planet future, which she expresses in paintings as well as in video, installation, or in situ interventions. The anthropological boxes are also questioning the relationship between nature and civilization.

What seems like insects are displayed in real entomological boxes. At closer look, the insects are actually cutout of businessmen figures from management magazines. The entomological boxes actually are anthropological: greediness as an animal instinct drives man in a rat race for possessing. Looking at human Nature, those boxes focus on what makes men animals, and may invert the direction of evolution theory from animal to man.