‘The Secret Kiss’, 2024
Comissioned by House of Voltaire
Glazed porcelain, earthenware, pigments, powder coated brass and cotton, 60cmx50cmx5cm
‘The Secret Kiss’ is an artwork inspired by my fascination with observing the non-human world of the soil. After studying soil biology, I began developing a body of work where the micro-fauna of the soil became central characters in theatrical scenes, playful games, and skewed scientific tables, challenging the limitations of our anthropocentric understanding of the ecosystem.
These two worms symbolize the multitude of worlds that coexist beneath our feet. In the soil, life is thousands of times more active than above ground. Cation exchange, mutualisation, decay, growth—bacteria, fungi, protozoa, and animals continuously eat, reproduce, and die. In this piece, the worms gently dance, kiss, and court under the gaze of the human eye—whether curious or wandering—inviting a deeper empathy for the non-human world on which we are entirely dependent.
Comissioned by House of Voltaire
Glazed porcelain, earthenware, pigments, powder coated brass and cotton, 60cmx50cmx5cm
‘The Secret Kiss’ is an artwork inspired by my fascination with observing the non-human world of the soil. After studying soil biology, I began developing a body of work where the micro-fauna of the soil became central characters in theatrical scenes, playful games, and skewed scientific tables, challenging the limitations of our anthropocentric understanding of the ecosystem.
These two worms symbolize the multitude of worlds that coexist beneath our feet. In the soil, life is thousands of times more active than above ground. Cation exchange, mutualisation, decay, growth—bacteria, fungi, protozoa, and animals continuously eat, reproduce, and die. In this piece, the worms gently dance, kiss, and court under the gaze of the human eye—whether curious or wandering—inviting a deeper empathy for the non-human world on which we are entirely dependent.
‘The Garden of unearthed delights’, 2024
Commissioned by Studio Voltaire, 2024
‘In-House : Juliette Ezaoui & Ana Milenkovic’
16th April - 17th June 2024
Mild steel, Aluminium, Monoprint, oil paint on recycled paper,
1800cm x 110cm
Inspired by ‘The Garden of Earthly Delights’ by Hieronymus Bosch, the drawing depicts the secret life of earthworms. My research has been informed by reading Charles Darwin’s extensive study, ‘The Formation of Vegetable Mould through the Action of Worms with Observations on Their Habits’. In the drawing, we see the worms collecting food, reproducing, and meandering on the surface of the soil. Eyes in the drawing become a recurring pattern, emphasizing the notion of observation and play.
The drawing is a monoprint, aesthetically resembling an architectural blueprint. I used the codes of technical drawings, which I produce in my interior architecture work, to create a technical drawing of a biological system. Taxonomy codes, annotations, dimensions, captions, degrees, weights, and various European science codes are present, flying around the drawing on circular lines. By using the techniques of blueprints, all writing is mirrored, bringing forth the idea of secrecy, coded maps, and games.
My work has also been heavily influenced by Jane Bennett’s essay ‘Vibrant Matter’, which explores the vibrancy between living and non-living things. The movement in my work alludes to this endless circularity of life and decay in the natural world.
Commissioned by Studio Voltaire, 2024
‘In-House : Juliette Ezaoui & Ana Milenkovic’
16th April - 17th June 2024
Mild steel, Aluminium, Monoprint, oil paint on recycled paper,
1800cm x 110cm
Inspired by ‘The Garden of Earthly Delights’ by Hieronymus Bosch, the drawing depicts the secret life of earthworms. My research has been informed by reading Charles Darwin’s extensive study, ‘The Formation of Vegetable Mould through the Action of Worms with Observations on Their Habits’. In the drawing, we see the worms collecting food, reproducing, and meandering on the surface of the soil. Eyes in the drawing become a recurring pattern, emphasizing the notion of observation and play.
The drawing is a monoprint, aesthetically resembling an architectural blueprint. I used the codes of technical drawings, which I produce in my interior architecture work, to create a technical drawing of a biological system. Taxonomy codes, annotations, dimensions, captions, degrees, weights, and various European science codes are present, flying around the drawing on circular lines. By using the techniques of blueprints, all writing is mirrored, bringing forth the idea of secrecy, coded maps, and games.
My work has also been heavily influenced by Jane Bennett’s essay ‘Vibrant Matter’, which explores the vibrancy between living and non-living things. The movement in my work alludes to this endless circularity of life and decay in the natural world.
‘Bingo table’, 2024
Commissioned by Studio Voltaire, 2024
‘In-House : Juliette Ezaoui & Ana Milenkovic’
16th Avril - 17th June 2024
Mild steel table with living and mom living things displayed.
150cm x 100cm
This installation stems from my curiosity about understanding soil structure and its living web. Resembling a laboratory table, the matter is logically placed on shelves that decrease in size throughout the installation. Through the themes
of collecting and the circle of life, the elements laid out move from the living stage, where the terrarium is, to an atomic level at the lower level—a bank of atoms where the bingo takes place. Bingo of atoms, of molecules, of matter – bingo of life!
The table brings the idea of use, echoing the making of life. Using the codes of scientific furniture but in an absurd manner, just like bingo and science together, it leaves the viewer questioning the functionality of the table.
Commissioned by Studio Voltaire, 2024
‘In-House : Juliette Ezaoui & Ana Milenkovic’
16th Avril - 17th June 2024
Mild steel table with living and mom living things displayed.
150cm x 100cm
This installation stems from my curiosity about understanding soil structure and its living web. Resembling a laboratory table, the matter is logically placed on shelves that decrease in size throughout the installation. Through the themes
of collecting and the circle of life, the elements laid out move from the living stage, where the terrarium is, to an atomic level at the lower level—a bank of atoms where the bingo takes place. Bingo of atoms, of molecules, of matter – bingo of life!
The table brings the idea of use, echoing the making of life. Using the codes of scientific furniture but in an absurd manner, just like bingo and science together, it leaves the viewer questioning the functionality of the table.
