We don’t imitate the surface of the natural world, we rebuild nature’s logic into a digital landscape of our own making. Nothing is an accident. Everything is the outcome of underlying rules. We play with natural and biological rules within digital spaces, reconfiguring them to create something of nature, yet distinctly new. Digital ecologies evolve from inputs we define: pressures, repetitions, attractors, noise. The results are then grown—artifacts that emerge from bespoke systems. Not human, not nature, something between. Shaped by growth patterns that never existed in biology.
Through additive manufacturing processes and art-techne translations these digital forms take on physical life: evidence of a parallel evolution, a speculative ecosystem where nature is not only observed, but rewritten. These digital forms, made manifest, take root on the human body, shaping its physical architecture in ways foreign yet familiar.
Our work is not a mirror of the organic—it is a reimagining.
“Biophilia” is a rare hybrid exhibition from rising design star RJ Weaver of ORBWEAVER collective and creative junkie painter-biodesigner Kirsten Tingle. The show is a unique pairing of traditional painting techniques, living materials, algorithmically generated body architecture, and 3D printed sculpture. Unusual to contemporary art, the making process is informed by developments in human-computer interaction, computational design, digital biomimicry, and the emerging field of biodesign. The techniques developed from the artistic creation of the show feed back out to industry and health tech, allowing for a knowledge exchange that goes far beyond the gallery walls and binds the artwork into the cutting edge of technological progress.
The exhibition opens with digitally fabricated, spinal-esque, wall mounted sculptures before giving way to a mycelial-erotic life sized human sculpture. In the center of the exhibition is a black sand covered table with cobra-sized biomorphic stands topped with jewellery pieces. On the back wall is a shadowy oil-painting of overlapping silhouettes surrounded by a 3D printed frame made of writhing body forms.
The exhibition feels like a Rick Owen catwalk, the set department of an alien movie, and a biology lab fused into an oddly sensuous aesthetic love child. Maximalist, gothic, techno-futuristic, and the hyper decoration of the Rococo era.
