HFI Anthropocene: Textures of Life

Life is a delicate tapestry, where every thread carries the whispers of genes, the dance of cells, and the song of blood. On this tapestry, the interwoven and layered textures record the journey of every soul. Each breath, each heartbeat, is an indispensable stroke in the fabric of life.

Within this tapestry, disease appears like discordant notes, disrupting the once harmonious melody. They are the shadows in the weave of life, reminding us to pay attention to the overlooked corners, the places in need of healing and care. Disease, at times, creates fractures in the fabric of life, but it also bears witness to growth and resilience. It teaches us how to coexist with fragility and how to find strength in adversity.

Exhibition

Our Team

We are HFI Anthropocene, formed by a group of students who are passionate in anthropology, life science and arts.

In the era of humanity, we have been committed to exploring the mysteries of the human history and understanding the essence of life sciences.

Bernice Wang

Chief Curator

Leader/Founder of Anthropocene

Jennifer Jiang

Assistant Curator

Founder of Anthropocene

Blake Xie

Assistant Curator

Founder of Anthropocene

Sarah Zhong

Assistant Curator

Founder of Anthropocene

We Are HERE!

As the New Year rings in, HFI Anthropocene made its way to the 2025 Guangzhou Illustration Art Fair. There, we mingled with a host of painters and curators, exchanging ideas and insights, and sharing the distinctive perspectives on life, illness, and health that our paintings bring to life. We also had a little corner for selling our cool merchandise. The money we raised went to the Guangzhou Welfare Institute, the Lingnan Education Charity Foundation, and HFI C.A.T.S. It's all about helping kids and cats grow up healthy and happy.

It's Finally Happening!

After over four months of careful planning, the Textures of Life art exhibition has finally come to life at The Affiliated High School of SCNU!

Beneath the Surface

The psychological texture is an exploration of one's self-awareness, a delicate interweaving of emotion and reason, a dialogue between the subconscious and the conscious mind. On a psychological level, we experience the full spectrum of life's joys and sorrows, feeling the depth and breadth of existence. Yet, the fluctuations of emotion, the distortions in cognition, the deviations in behavior, and the inner struggles make the inner world of individuals both complex and profound. It is precisely these challenges that compel us to understand ourselves more deeply, to learn the art of managing emotions, and to cultivate resilience. Psychological therapy, art therapy, writing, and other methods can help us reweave this psychological fabric, rendering it stronger and more vibrant.

Old Man in Sorrow by Vincent van Gogh. Photo: Public Domain.

Within me drifts an ethereal realm of illusions. The shrill murmurs and the crawling sensation on my skin, like a trail of ants, blur my senses. Where am I truly?

Hallucination

Sarah Zhong

For those suffering from mental illnesses, hallucinations—whether auditory, tactile, or visual—distort their perception of reality. Their thoughts become tangled, their world unreal, making communication a near impossibility.

I Wish I Can Eat Your Cancer

林麓舟

A heart-shaped box brimming with carnivorous orchids and bruised fruits is the most fitting coffin for one who harbors a malignant tumor in their emotions. How I wish I could consume the melancholy of your cancer.

Reactionary depression or Secondary depression occurs when an individual experiences depressive symptoms in response to the stress and emotional turmoil associated with a physical illness diagnosis. The individual may feel overwhelming sadness, hopelessness, or despair upon learning about their physical illness. This emotional reaction can be intensified by fears about the future, potential loss of health, or changes in lifestyle. The individual may also struggle with feelings of loss related to their identity or purpose, especially if the illness affects their ability to work, engage in hobbies, or fulfill responsibilities.

Dandelion

林麓舟

Born in the hallucinogenic amniotic fluid, the newborn black goat, not yet shed of its warm and damp placenta, forever hides in the black hole of childhood and dandelion flowers. As the band you belong to plays an unfamiliar song, your brain injury leaves you unable to remember to bring along your guitar.

Traumatic brain injury (TBI) is a disruption in normal brain function caused by an external force, which can lead to potential impairments in cognition, emotion, and behavioral regulation.The consequences of these injuries highlight the importance of recognizing TBI in the context of treating behavioral health conditions. TBI can not only cause behavioral health problems but also produce related deficits that can undermine the effectiveness of treatment for behavioral health conditions.

Lily's Saturday

Elio C.

Bipolar Calender of Mask of the Day.

Bipolar disorder is a mental health condition characterized by alternating episodes of elevated moods, known as mania or hypomania, and periods of depression. These extreme shifts in mood can significantly impact a person's ability to function daily, maintain relationships, and manage their life. The cause of bipolar disorder is not fully understood but is believed to involve a combination of genetic and environmental factors. Effective treatment, including medication and therapy, can help manage symptoms and enable individuals with bipolar disorder to lead fulfilling lives.

Hollowness

Elio C.

Deep in my chest an echo ever lasts.

Hollowness is a term sometimes used to describe an emptiness or lack of fulfillment felt by individuals experiencing certain mental health conditions, including bipolar disorder. It can manifest as a feeling of disconnection from one's self, others, or the world around them. This sense of emptiness might be accompanied by a lack of motivation, interest, or joy in activities that were once pleasurable.

Struggle

Echo/ Yoyo

Beneath the texture lies the current of consciousness, the vigor of life unfolding. We possess the wondrous gift of imagination, yet also the shadows of depression, anxiety, and the storms of irritability. Our thoughts scatter like tangled yarn, yet weave together like the arc of a rainbow. When plummeted into the abyss of self-awareness, may you break free and feel the full spectrum of joy, sorrow, anger, and pleasure.

Memories Woven Like Threads of the Faded Past

Jennifer Jiang

A shattered glass bottle serves as the vessel for memories, adorned with neurons and vivid, colorful threads of yarn seeping through its cracks. This poignant imagery symbolizes the loss and disarray in the elusive memories of those afflicted with Alzheimer's, where the past leaks away like the shattered fragments of a once whole vessel.

‘Somatizational’ Blossom

章子菡

Through the form of electronic collage, the somatic symptoms accompanying depression or anxiety are expressed. Hand skeletal models resembling wings on both sides represent the symptom of hand tremors, while the central human skeleton, altered in transparency, embodies the symptom of bodily trembling.

Somatization is a psychological phenomenon where individuals experience physical symptoms that cannot be fully explained by a general medical condition or as a direct result of a substance. It's a way for the mind to express emotional distress through the body, such as converting anxiety into physical pain or fatigue. This process is unconscious and distinct from intentionally feigning symptoms, which is known as malingering. Somatization is often associated with conditions like depression and anxiety and can lead to a variety of physical complaints, including pain, gastrointestinal issues, and sexual symptoms.

Reconciliation

Jennifer Jiang

"Reconciliation" aims to depict the complex inner world of individuals with anxiety disorders. The artwork incorporates aesthetic elements such as bubbles (symbolizing the behavior of repeated washing) and numbers (representing the incessant counting, such as counting floors, which reflects characteristics of obsessive-compulsive disorder) to convey common psychological symptoms experienced by adolescents with anxiety. The main character in the piece is rendered with dreamlike color combinations, intended to express the vibrant inner world that persists amidst the constraints of mental illness.

In the Enchanted Forest, little bunny Hearty is rushing to the Carefree Kingdom to attend her sister's healing ball. But Hearty can't find her ball gown! Tears well up in Hearty's eyes as she feels sad, and you decide to weave a beautiful new dress for her.

Original Interactive Picture Book:
The Magic Journey of Relief

「No-Worries Club」Blake Xie /Minerva Huang

The book presents a wondrous adventure of the soul in the form of a picture book, aiming to educate children in an entertaining way about the mental health benefits of art therapy. In this story, we embark on a unique journey to a ball with little bunny Hearty. At the ball, children will make a "dress" for the bunny with their own hands. Let's weave a beautiful dance dress for Hearty together, crafting the texture of our own lives.

David Wojnarowicz_Untitled(Hujar Dead, 1988–89).jpeg

Chains Of Disease

Society is the invisible bond between people, the grand stage of shared living, providing us with collective wisdom and emotional support to combat diseases. Under different cultural backgrounds, people's understanding and response to diseases vary, but what is common is the respect for life and the desire for health. However, in the interactions between people, diseases spread along these veins, forming chains. Culture and customs weave people's thoughts and behaviors together, creating a collective memory and identity, forging our society. They are lifestyles passed down from generation to generation, people's cognition and interpretation of the world. The wisdom contained in customs can sometimes help us prevent and treat diseases. However, certain customs may also inadvertently become a breeding ground for diseases, such as some unhygienic customs that may increase the risk of disease transmission.

New Pathogen, Old Politics by Alex de Waal

Installation Art:
Long Wun: A Narrative

Bernice Wang

As a living ritual, "Long Wun" is a vivid and immersive ritual. When we envision the scene of "Long Wun," our minds often picture a group of people sitting around a round table, meticulously rolling tea cups and rice bowls, allowing every part of the utensils to be soaked in tea water, the crisp clinking of porcelain objects, and the graceful curves of water. Inspired by my study of "Long Wun", a pre-meal etiquette in South China that rinses the tableware，regarding its cultural significance and how it impacts people's concept of Cleanliness from a public health perspective, I created an installation art piece that combines a set of everyday tableware from Guangdong with an accordion book to capture the dynamic beauty of "Long Wun" and the interaction between people and tableware. As the audience explores this installation, they can find hidden accordion books inside tea cups and teapots; these books, shaped like the circular bottom of the tableware and connected page by page, introduce amusing stories between the actual users of this set of tableware and "Long Wun," as well as the significance behind "Long Wun" in this survey. Through this piece, I hope to transform and disseminate the "Long Wun" cultural tradition of the Guangdong region in a relatively light- hearted and interesting artistic form.

If you are interested in my study, feel free to read my paper!

"From the bustling streets of Guangzhou to the quiet corners of family gatherings, "Long Wun" weaves a narrative of respect, hygiene, and community."

Kung Fu Tea

Blake Xie

In the ancient Chaoshan area of Guangdong, Kong Fu tea carries a legacy as old as time, a cultural thread that weaves the hearts of the Eastern Guangdong people together in a tapestry of shared warmth and camaraderie. Yet, within this cherished ritual, the searing heat of the Kong Fu tea can silently scorch the esophagus, sowing the seeds of transformation that may bloom into the unwelcome guest of cancer.

The mechanism behind this risk involves the repeated exposure of the esophagus to hot liquids, which can lead to chronic inflammation and DNA damage that may result in cancerous cell changes over time. A study published in the European Journal of Epidemiology, which involved half a million Chinese adults, suggested that daily tea consumption might be associated with an increased risk of esophageal cancer and stomach cancer, although the study did not specifically address Kung Fu tea.

Health Wall of East and West

Bernice Wang

In the long river of history, public health promotion posters are not only tools for health education but also carriers of cultural exchange and the spirit of the times. Through a series of Chinese and Western public health propaganda posters, I hope to show the perception and response strategies towards the same disease under different cultural backgrounds.

Personal Hygiene

Tuberculosis

Vaccination

Malaria

Exercise

Fertility Suite

Keith Haring

Created in 1983, amidst the global HIV/AIDS pandemic, Haring's series of works paid special attention to the high incidence of AIDS among pregnant women in sub-Saharan Africa, as well as the transmission of the virus from mother to child. In this body of work, Haring employed his signature visual language, characterized by bright colors, thick lines, and simplified forms. He also used multiple recurring themes, such as the image of a pregnant woman and dynamic bodily movements, as a tribute to motherhood and female strength. Additionally, the series included other iconic symbols by Haring, such as the "Radiant Baby," pyramids, and UFOs. The combination of these elements makes this series a quintessential representation of Haring's style.
—— Jennifer Jiang

Emerging Infectious Disease

Eric Avery

Created in 2000, the artwork depicts the social anxiety brought about by epidemics and infectious diseases, as well as the pressing urgency of the swift transition between life and death, prompting deep reflection. The painting captures the poignant moments of life and death in the face of infectious diseases, such as HIV and hepatitis C patients sharing a room without isolation measures, alongside simply wrapped corpses and grieving relatives kneeling nearby. At the same time, the artwork also conveys a satirical take on the protection measures against infectious diseases, with posted air-borne prevention measures—wearing masks, but in reality, in the tuberculosis ward, the droplets expelled from patients' coughs spread uncontrollably, while the healthy people around them are indifferent. This piece, with its highly impactful visual, reveals the stark contrast between the suffering caused by infectious diseases and the disregard of people.
——Jennifer Jiang

Untitled/Hujar Dead, 1988–89

David Wojnarowicz

After the death of his lover Hujar, David Wojnarowicz used photography to capture various parts of his body, placing them beneath layers of printed text. The borders of the images were adorned with dollar bills and swimming sperm, creating a powerful visual statement. In protest against the politicians' neglect of the AIDS community, David called for a response in his book "Close to the Knives: A Memoir of Disintegration," where he suggested that after the death of a loved one, friend, or even a stranger due to AIDS, the deceased's friends should scatter their ashes at the White House gates. This book, a blend of autobiography and essays, was first published in the United States in 1991. He referred to it as "a memoir of disintegration," which not only alludes to its fragmented, collage-like structure but also to the landscape it depicts: a place of loss and danger, fleeting beauty, and tenacious resistance. In 1988, David participated in a protest wearing a jacket with a striking slogan: "If I die of AIDS, don't bury me, just throw my body at the FDA's doorstep." On October 11 of the same year, his friend Warren Krause responded to this call by pouring ashes in front of the White House, drawing widespread media attention.
——Blake Xie

Untitled

A.V.Terman，l.Volnova

In the late 1980s, amidst the global HIV/AIDS epidemic, the Soviet Union, like many nations, sought to raise public awareness through various means, including educational posters. A collaboration between A.V. Terman and Volnova resulted in a propaganda poster aimed at preventing AIDS, emphasizing the message that it could be avoided by refraining from casual sexual encounters.

This poster was part of a broader Soviet tradition of using visually striking propaganda to communicate political and health messages. Posters were a key tool in the Soviet political discourse, particularly in the post-war era, using vivid and expressive images to influence the masses. They covered a wide range of topics from industry to agriculture, often portraying idealized versions of Soviet life and heroes.The Soviet approach to public health, including the AIDS epidemic, was also influenced by the state's control of information. There was a reluctance to acknowledge certain social issues, which may have impacted the epidemic's spread within the country. Despite this, efforts like the Terman and Volnova poster show that there were attempts to educate the public about the risks of AIDS and the importance of prevention.The concise message on the poster reflects the Soviet use of straightforward communication to address significant health concerns, within the context of the country's unique cultural and political atmosphere.
——Sarah Zhong/Bernice Wang

The Last Supper, 1999

© Damien Hirst and Science Ltd.

Damien Hirst, a leading figure among the Young British Artists (YBAs) movement, is known for his thought-provoking artworks that often explore themes of life, death, and the beauty of science. In a creative series inspired by pharmaceutical packaging, Hirst replaces the names of medicines with those of traditional British working-class food items, a nod to the cultural significance of food within the UK’s social fabric. By incorporating symbols like ®, TM, and decorative fonts, he transforms these food items into branded commodities, with variations of his own name taking the place of the usual drug manufacturer’s logo. This approach is reminiscent of his broader artistic practice, where he often uses familiar symbols and themes to comment on consumer culture and the commodification of everyday life.

Hirst has drawn comparisons between medical packaging and minimalist art forms, noting that "Many actual medicine packaging boxes are very minimalist, as if straight from minimalism, with the confidence that minimalism implies." This statement reflects his deep understanding of the visual language of both art and consumer products, as cited in "Burn" .

The artwork serves as a powerful commentary on the role of medical drugs in our daily lives and the increasing normalization of drug use. It suggests a critique of how society's relationship with medication has evolved, becoming more casual and less stigmatized, which can have both positive and negative implications for public health.Through this work, Hirst invites viewers to consider the aesthetics of medication, the role of branding in shaping our perceptions, and the broader cultural narratives that surround health and wellness. It's a testament to his ability to take everyday objects and imbue them with deeper meaning, encouraging a dialogue about the complexities of modern life and the systems that shape it.

——Bernice Wang

The work does not follow a specific order, feel free to scroll.

Glass Microbiology，2009

Luke Jerram

Artist Luke Jerram has created sculptures of bacteria and viruses, models of which are enlarged 100 times, using glass to craft these serious infectious disease pathogens. This work conveys the importance of communicating and educating the public about public health. Through the creation of these sculptures, the true nature of infectious disease sources is displayed in a clear and artistic manner.

——Sarah Zhong

Collection of Jerram's work, for more see website

Past, Present, Future

In this triptych, from left to right, it represents the dangers that viruses and humans have faced, are facing, and will face in the past, present, and future. The one on the far left is a model of the smallpox virus, which represents the past. Among all human infectious diseases, smallpox is considered to have been the single pathogen that has caused the most human deaths in history. The smallpox virus was eradicated from natural existence in 1977 through a global vaccination implemented by the World Health Organization.

HIV represents the present. HIV/AIDS was first clinically identified in the United States in 1981, and despite extensive medical research on this virus, there is currently no cure.

The unnamed future mutation is a fictional virus that has not yet come into existence. Was this virus created in a laboratory or naturally evolved? Is the impact of this virus beneficial or harmful to humanity? Luke Jerram leaves a vast space for the audience's imagination.
——Bernice Wang

Zika Virus

Zika virus is transmitted by daytime-active Aedes species mosquitoes, such as Aedes aegypti and Aedes albopictus. It is named after the Zika Forest in Uganda, where it was first isolated in 1947.

Zika virus infection, known as Zika fever or Zika virus disease, typically causes no symptoms, or it may lead to mild symptoms similar to a very mild form of dengue fever. Although there is no specific treatment, acetaminophen (paracetamol) and rest can help alleviate the symptoms. The Zika virus can also be transmitted from pregnant women to their fetuses. This can lead to microcephaly, severe brain malformations, and other birth defects.

——Bernice Wang

Giant COVID-19

In commemoration of the first national lockdown in the United Kingdom, which began on March 23, 2020, artist Luke Jerram created a massive glass sculpture of the COVID-19 virus. This artwork pays tribute to the immense global scientific and medical efforts to combat the pandemic. The sculpture, made of glass and measuring 23cm in diameter, is approximately 2 million times larger than the actual virus, offering a clear and artistic representation of the pathogen that has caused widespread illness around the world .

Jerram's work serves as a visual reminder of the collective struggle against the virus and the importance of scientific collaboration in public health. The sculpture is not only a testament to the artist's skill but also a symbol of the resilience and determination of the global community in the face of an unprecedented health crisis. All profits from the sale of this glass model are donated to Médecins Sans Frontières (MSF), an organization that has been actively assisting developing countries in dealing with the impacts of the COVID-19 epidemic .

——Bernice Wang

Ecopathies

The relationship between nature and disease is complex and delicate. On one hand, the natural environment can be a source of certain diseases, while on the other hand, it is also an important resource for treatment and recovery. Fresh air, clean water, and green vegetation are all natural remedies that combat diseases and promote healing. In the face of illness, we become more aware of the importance of the natural environment to our health, learning to coexist harmoniously with nature and utilizing its power to heal our bodies and minds.

Destroying Nature Unleashes Infectious Diseases - The New York Times

Fishing Pole

Blake Xie

Small fish eat algae, and big fish eat small fish. Due to Biomagnification, pollutants in the water continuously accumulate, eventually harming the human body. The inspiration comes from a homemade extra-long luxury cat teaser at home.

Biomagnification refers to the process where harmful substances, such as heavy metals and persistent organic pollutants (POPs), become more concentrated in organisms as they move up the food chain. This phenomenon is particularly concerning for top predators, as the concentration of these toxins can increase significantly, leading to severe health risks.Recent studies have highlighted the global and local differences in biomagnification effects, emphasizing the need for a combined approach using trophic magnification factors (TMFs) and biomagnification factors (BMFs) to assess the bioaccumulation of pollutants in coastal and marine food webs.Understanding biomagnification is crucial for managing environmental pollution and protecting both wildlife and human health, as it influences the exposure risks associated with consuming contaminated food sources.

Poetry Anthology "the Beak"

Bernice Wang

Short play: The Beak is inspired by the "Four Evils Campaign", the script portrays a remote village nestled between mountains and rivers, where nature is revered. Under the leadership of the new village chief, the villagers are called to exterminate sparrows, rats, flies, and mosquitoes. Supported by Ze Lai, who claims to be a scientist, the villagers, including Tian Chong's family, are incited into participating in this large-scale “cleansing” campaign...

Due to the lengthy presentation of the script, the poem excerpts key plot points from the play. I hope that through these concise poems, readers will reflect on the conflict between "science" and religion, the constraints of gender roles, and the dangers of blind obedience. “Man can conquer nature” may speak to human strength, but only by complying with nature can we truly and sustainably triumph over it.

Silence of Chirping

Once, sparrows brushed the Zhao Ye sky,

Their wings a quiet rhythm, soft and high.

But words came down, like stones in the stream,

Claiming demons hid in feather and gleam.

Tian Chong raised his rifle, aimed true,

The sky cracked open, but no one knew

What they were hunting, or why they should care—

Sparrows fell like whispers, lost in the air.

No one mourned, no one cried,

They gathered the fallen, side by side,

As if nature would answer with a nod or a sign,

But silence grew thick like a creeping vine.

Zeng Lai’s Whisper

Zeng Lai whispered through the crowd,

With words so sharp, but said aloud.

He spoke of demons in disguise,

And fed the village bitter lies.

He sowed the seeds of fear and hate,

But nature waits—its wrath won’t wait.

Behind his smile, a cunning plan,

To twist the trust of every man.

The crops now fail, the people fall,

But Ze Lai hides behind it all.

Tian Di’s Fall

Young Tian Di, she dared to dream,

To walk beside the mountain stream.

But poison waits for those who stray,

And nature’s path makes none to stay.

Her father wept, but he denied,

The truth that nature can’t abide.

The sacred fields are not for greed,

But only yield to those in need.

Di’s gone, her life cut short,

By hands that twist what nature taught.

The earth speaks soft, yet we don’t hear—

Tian Di’s fall, her price was clear.

The Ashes of Our Fields

We gathered round the burning flame,

To cast our sins, to hide the shame.

The fields once fed the hands of all,

But now we watch the final fall.

The grain is dust, the earth is dry,

We wonder why we even try.

For nature keeps what we forgot,

And leaves behind an empty plot.

The ashes rise, the smoke does curl,

Around the loss of our own world.

What once we tilled, what once we sowed,

Is now the dust by winds that blow.

Archaea Bot

Anna Dumitriu

The artist uses the deep sea floor as a laboratory for the future of humanity, exploring the possible evolutionary directions of life forms under extreme climate conditions. Archaea are microorganisms that live in extreme environments, and their existence demonstrates the tenacity and diversity of life. In ArchaeaBot, the artist takes the characteristics of archaea as inspiration to construct an imagined life form that can adapt to the effects of the Anthropocene, such as the greenhouse effect and acid rain. This concept prompts thoughts on environmental adaptability.
——Jennifer Jiang

State of Inflammation

Ane Graff

States of Inflammation, consisted of three large-scale glass cabinets with smaller sculptures of plants and coral inside. The project explored how all material bodies are affected by what they encounter, and, for humans, in particular, how pollution is causing the loss of bacteria that live on, and with, us. Accordingly, our bodies are changing into something new and unknown.

Graff is interested in the human body as a system, or series of open-ended systems, functioning within other huge systems it cannot control. The body as bodily, corporeal material is irreversibly linked to the materiality of the world, and the topic of health and illness became apparent the more time she spent researching these issues.

As the material meetings of our time are new, it meant that the effects would also be new; and what we have in our time is an increase in chronic inflammation and chronic disease. This causes an increased vulnerability to the outside world and, as we see today, to infection.The high mortality rate from Covid-19 may be a consequence of the high number of people having chronic low-grade inflammation as a precondition.The pro-inflammatory ‘inducers’ are new, arising as a result of the industrial revolution of the late 19th century. So, our bodies can be seen as a material, embodied memory – of past decisions of a whole epoch of ongoing industrialisation.
——Jennifer Jiang

Mold Art

Dasha Plesen

Ordered, squishy, malleable, blobby, spongy, sticky, puffy, coloured, dimensional, living, giving, breathing, movable, changeable, diverse, chaotic.

Dasha Plesen uses the growth paths of spores as brushes, collecting spores from various surfaces and using agar as a canvas, waiting for the natural growth of the spores. Slime mold spores, mold, and bacteria, among other microorganisms, produce natural color combinations during their growth process. She believes that time is one of the important tools for artists to co-create with nature. She tries not to interfere with the natural growth of these spores on the agar canvas, merely acting as a supervisor, deciding at the right time to capture the moment with a photograph or how to use epoxy resin to repair the image for a more artistic effect, thus preserving more of the accidental purity in her works. During the creative process, one can gradually witness the emergence of new spores, the appearance of textural layers, and variations in patterns. Time, as a medium, slowly materializes in the artwork. Dasha Plesen believes in trusting the patterns formed by nature over billions of years of life cycles, and that patience will yield surprising rewards.

Slime molds reveal another possibility of life with their unique growth patterns and behaviors, while artists, with their keen observation and extraordinary creativity, transform this natural phenomenon into poetic and philosophical paintings. These creations not only allow us to appreciate the wonders of the slime mold world but also make us feel the profound and subtle connections between art and science, nature and humanities.

——Bernice Wang/ Sarah Zhong

Explore the pile of Mold Art Polaroids!