Inspired by vegetal growth behavior, these pyrography engravings are modeled after real environmental change data

The project examines the boundaries of time perception and climate change, by creating a series of images that represent the changes in their surrounding environment, focusing on natural processes that occur at different rates.

Time is a fluid

Vegetation is in a constant process of adaptation, but our perception of these changes is limited to our perception of time as key-points. We perceive the passage from one state to another, dismissing the process and focusing only on the big differences.

In each series every single image represents a day, visualizing how small, almost imperceptible changes from one day to the other, creates a similar shape in the core anatomy of the engraving, but with structural differences.


Custom climate sensors gather the data that will be the seed for each series of engravings. They log everything: snow, rain, sunshine… along with air quality, temperature, humidity, and every other significant value.

All representative data that would affect plant growth is captured during a relevant time frame and analyzed by a custom algorithm to create digitally grown botanic forms from it.


Inspired by natural growth behavior, a computational process creates virtual shapes that adapt to the real environment.
The real experience of climate, captured as digital data, is fed to this artificial organism which is continuously expanding and refining its shape as the environment characteristics change, producing a wide variety of growing structures.

Science vs experience

When it comes to artistic data visualization, the model utilized to map the data should have an intrinsic relation to what is visualizing, in such manner that even without trying to read the data, the graphic should convey a subconscious understanding based on our own experience of the world.

These resulting graphics are laser engraved on thin wood veneer, which makes them look close to something as natural as plants dried between pages of a book, rather than a computer-generated graphic. Along with them, samples of real vegetation (from the area where the data was captured and used as inspiration to model the specific visualization algorithm of each series) are shown in glass sample tubes.

New series of Receptive Environments engravings are released often as limited editions via store updates.


  • 2011

Thanks to

  • Katja Endisch
  • María José Martínez
  • Espen Gangvik

Supported by

  • Junta de Andalucia
  • Künstlerhaus Bethanien

Commissioned by

  • Trondheim biennale for Art & Technology – Meta.Morf
  • EnBW
  • Centro de Arte Rafael Boti