Expanded 3D animations, synchronized multichannel installation, ecosystems, food and ecology, food chains, energy flows, transformation, regeneration, speculative fiction, relationality, conviviality, creative visualizations, futurity, possibilities, research-creation.
ABOUT THE PROJECT – 2024 – 25
BichEden: ParaDoxa is an installation situated at the intersection of electronic art, environmental science, archival practices, and ecological ethics. Virtual terrains become ceremonial spaces, sites where data mourning and ecological futuring can coexist. Place-based inquiry into origins, conditions, and regenerative energies associated with climate disruption in Mexico - my former home - grounds my relationship to these ecologies as biogeographical, and shaped by lived experience and displacement. The work investigates threatened food chains across three endangered Mexican bioregions—the Coral Reef, Rainforest, and Alpine ecosystems of the Yucatan and Puebla—through a tripartite structure:
• Three 3D animations presented as multichannel video triptychs speculate on ecological futurity and regeneration. The triptychs engage the creation of interstitial forms, drawing on hybridity theory grounded in ecological terms.
• Three soundscapes create immersive acoustic environments, foregrounding embodied, non-visual modes of ecological knowing
• Three digital scrolls act as process archives—‘anarchival mind-maps’ signaling methodological resistance to conventional archival practice, generating knowledge rather than merely preserving.
The installation transforms empirical ecological data into affective, participant-centered narratives within the context of global environmental precarity. Technology—including 3D animation, data visualization, and digital media—intersects with Maya, Lacandon, and Nahua cosmologies, treating these knowledge systems as co-constitutive rather than oppositional.
BichEden: Paradoxa employs a speculative narrative methodology rooted in anarchival artistic practice. Moving beyond field records of visuals and audio, the work draws on electronic Red Lists research. Rather than simulating, I invoke these elements through technological tools, engaging both ecological and digital systems via critical and imaginative intervention. The virtual is approached not as mimetic representation but as generative potential—as ceremonial terrain.
The installation design is guided by hybridity theory and the poetics of interstitial spaces, activating participants as co-creators within an ecology of shared becoming—transforming observation into embodied, relational experience.
Positioned within a cosmotechnical framework, the installation rejects the nature/technology binary. Its decolonial methodology situates Indigenous cosmologies as foundational rather than supplemental knowledge systems. Through anarchival interventions, it reimagines regeneration and future memory-making, constructing an affective infrastructure for processing ecological loss while envisioning renewal, healing, and rebirth.
'BichEden: ParaDoxa' multichannel, synchronized video installation composed of 9 displays. 3D visualization showing three “BichEden” triptychs.
