Olla, Nature Sculpture and Flower Sculpture

These three sculptures explore the evolving relationship between human intervention and nature, moving from raw organic materials to advanced technological design. The first is the most natural, using unprocessed elements to reflect both destruction and regeneration. The second introduces traditional craftsmanship, integrating human ingenuity with natural cycles. The third, shaped through 3D printing, represents the peak of human control, yet it ultimately surrenders to nature as plants overtake its form. Together, these works trace a journey from minimal intervention to precise engineering, questioning the balance between human creation and nature’s enduring resilience

Can you briefly introduce yourself and your artistic practice?

I am a textile designer and artist interested in exploring the relationship between humans and the natural environment. I create textiles that serve as a base for growing plants, which evolve into installations, fashion pieces, and objects. By using various techniques and technical applications, I develop different forms of symbiosis. My role as an artist is to create an optimal environment for the plants to grow—the true magic happens when they flourish.

My practice requires extensive research, and I am passionate about expanding my knowledge of plants, especially wild species. Additionally, I explore materials, programming, and the complex connections between humans and non-human entities.

In your bio, you mentioned that your textile work is influenced by the duality between the city and the countryside, and aims to bring together plants, humans and other living things. Could you elaborate on this line of thought?

Yes. During high school, when I lived in the countryside, I spent a lot of time horseback riding through forests. Looking back, I realized how much strength and balance this deep connection with nature gave me. Spending time in natural landscapes has always been essential to me. At the same time, I also grew up in Berlin, later lived there again, and now appreciate the cultural richness of city life.

This dual experience makes me question how we can merge the best of both worlds—creating cities that are not just places for human habitation but also thriving environments for plants and animals. I envision urban spaces that embrace natural rhythms, where nature can flourish even within human-occupied areas. I hope we can relearn how to coexist with all living beings and collaboratively create beautiful, shared spaces. This would benefit not only ecosystems but also our well-being as humans.

What motivated you to apply and participate in this online program? What were your initial goals and expectations?

First, I appreciated the interviews you host, which cover a broad range of topics and viewpoints—I find that really inspiring. I was also drawn to the idea of eco-focused artists coming together to exchange ideas and perspectives. At the beginning of my career, it is especially important for me to listen to more experienced artists.

I believe receiving feedback is essential, particularly during the creative process, from people who truly understand the work. I saw this program as a great opportunity to engage in meaningful discussions and gain valuable insights.

Please share more details about the three sculptures you created during the program. What was the overarching theme or focus, and how did you approach the creative process for developing these works?

I initially set out to create a single sculpture—a 3D-printed form with an integrated water system. However, through the discussions and lectures during the program, I became inspired to explore more natural materials. I began experimenting with clay, creating prototypes, and found the process so compelling that I decided to incorporate it into a final sculpture as well.

While researching, I came across the concept of the Olla, a traditional clay irrigation vessel, which led me to a broader exploration of how human interaction with nature evolves over time. This idea naturally developed into a series, with each sculpture representing a different stage of our relationship with the natural world.

The overarching theme of the three sculptures is the various ways we connect with nature, both conceptually and materially. I also wanted to investigate the visual and tactile qualities of different materials. What unifies all three sculptures is the presence of living plants growing on them, reinforcing the idea of coexistence and interdependence. 

What was the process of creating the 3D objects that capture the essence of the 3 sculptures and their plant growth?

Since I used three different techniques, each process was unique. The creation of the flower sculpture began with extensive computer work, as I needed to develop the model digitally. I spent a lot of time studying flower shapes, continuously going back and forth in Blender (the 3D modeling software) to refine the design.

For the textile piece, I initially used a pre-manufactured fabric, but it didn’t quite work for me. So, I decided to crochet one instead, allowing for more control over texture and form.

The Olla sculpture naturally took shape as a vessel, used for centuries as an irrigation system. I incorporated weaving-inspired cutting edges, which gave it a raw, organic appearance.

The most natural piece in the series was influenced by branches and the simple technique of wrapping yarn around them, embracing an intuitive and tactile approach.

Across all three sculptures, plant growth plays a central role, integrating nature into the design and reinforcing the theme of interconnectedness.

Can you describe any specific techniques, materials, or approaches you experimented with during the program?

During the residency, I experimented extensively with clay, a material that was inspired by the program. It allowed me to explore new textures and forms, and it quickly became a central part of my creative process.

For me, the residency was not only about exploring new techniques but also about developing my artistic practice. It provided the space to reflect on who I am as an artist, where I want to go, and how to approach various challenges. The program also facilitated rich discussions on a variety of topics, which were incredibly valuable. It was inspiring to see the diverse artistic approaches of my fellow residents, which helped broaden my perspective and shape my own approach to art.

Can you share an example of how you and your fellow artists inspired or learned from each other during the collaborative process?

I don’t have a single specific example in mind, but I do think the range of topics we covered was incredibly enriching. The discussions varied from very practical matters, like how to apply for opportunities or structure our days and creative practices (which led to us all creating mind maps! :)). 

We also shared and discussed our individual works, inspiring each other with ideas and offering new perspectives. Beyond that, we delved into more philosophical conversations about time, human impact on the environment, and even the concept of phytofication. These deep discussions sparked new thoughts and creative directions, allowing us to learn from each other on both a practical and conceptual level.

If you could give one piece of advice to future participants of this program, what would it be?

If you have the chance, I would recommend planning some extra time for reading and really diving deep into the topics covered in the lectures. The residency provides a lot of inspiration, and taking the time to explore these ideas further will enrich your experience.

That said, the program allows for very individual approaches, so it’s also great to come with something specific in mind that you’d like to work on—whether it’s a technique, a particular topic, or a project you want to develop.

Find out more about the artist here.

See the immersive virtual exhibition here.

All images courtesy of Antonia Ablass.