WORLDING 
WITH NON-HUMANS



    
Worlding with everday packaging waste / materials and tomato plants.


Attuning with tomato plants (gallery link)

Tomato plants of 2020.







Aliens (2023)

A series of collographs,
framed in reclaimed plastic packagings
and found canvas stretcher

Exhibition view at De Bowuput, Amsterdam, NL.






Scenes from Esoterraria-p (2022) at Job Centre Deptford, part of DeptfordX Festival. 



 

Esoterraria-p (2022)

Installation; 
durational performance - 12 hours.

Uncasting of
1.5 years of plastic packaging waste from 1 domestic bin

into a new world. Open to participation without insisting. Instructions to participate inside or outside of Esoterraria-p:

Plastic wastes
Witness the everyday of human ways
Trusted and hated
In glue
In oceans
In artery bypass graft surgery
In human blood

A cube from a different time-space
Foreign as alien race
Transparent and laboured
Silent and traced

Beyond extrude, inject, mould
lies embodied tales of care, belonging and ecology
Esoteric for whose taste
Bring them on, play and convey

Outside the cube:
Tell esoteric tales, tell wisdom, tell free associations
To friends, to strangers, to the air
Inside the cube:
Plastics knows no human words
Only actions, forms and shapes
Seeks human translators
and essence of care, belonging and ecology




Sustainability Bonsai (2023)

Sculpture
Materials: Reclaimed plastic packaging, reclaimed scaffolding boards, fallen twigs.
Exhibition view at Bargehouse, London, UK.


Hearing plastics out (gallery link)
Nature is Green (2023)

Collograph on magnani 300 archival paper, 
framed in found plastic bag.  
Exhibition view at De Bowuput, Amsterdam, NL.



Four Seasons (2023)

A series of collographs, 
framed in found plastic bag.  
Materials: Reclaimed plastic packaging, acid-free paper, store-bought printmaking ink.







UN-READYMADES
(gallery link)




Unstable Table (2022)
Installation; speculative device; un-readymades.

Made with various reclaimed wood collected over half a year or so, clamps and 1 new sheet of ply. Glue free, screw free, and no prior carpentry skills.  





Healing from trauma (2023)
Sculpture; un-readymades.

A reclaimed piece of oak that were found with damage inflicted by metal at some point, as evident from the blue stains - a reaction the oak creates.






Paper pulp was here . (2023)

Installation; un-readymades.
Consist of natural pigment, cotton fabric, washing line.
Details of Paper pulp was here. (2023)














Studio ANDNAND is a participatory speculative design and art practice by Stephanie Pau, who is working on non-extractive alternatives to the status quo of strategic foresight and futures imagined in a more-than-human world. Works are related to, but not limited to, health and ecology - because the lived worlds are made of systems and entanglements, not silos.



COLLECTIVE IMAGINATION
The concepts we think with matter,
the people we think with matter,
the tools we think with matter.

Non-extractive, inclusive convening through methods and tools of participatory speculative design, design games and probes. Sometimes, inside an installation.

 Facilitate collective futuring
    e.g. Futures thinking workshops
Collectively make sense of each others’ worlds and re-imagine differently - online, offline or in hybrid workshops and, maybe, systems change.

Produce discourse
    e.g. Sensory XD
A conference track and a catwalk show in a health innovation conference.

Example workshops  



WORLDING WITH NON-HUMANS
Who counts in a more-than-human world?

Centering waste materials and 
                       tomato plants 
in a rhizomic, 
  meandering, 
      more-than-human research and practices. 

Current lines of research through art: attuning with Tomato Plants; hearing plastics out; un-readymades.
 
Installation, printmaking
and durational performance



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Studio ANDNAND
Stephanie Pau