Finding the Wild


Lichens
Post-Shelter
Mould Takeover
Don’t shit where you eat
The Mill
Fishing Zone
Compass
1-Stroke-Sugar-Motor
Non-Extractive Mining


Finding the Wild (Jazmin Charalambous & Felix Mohr) make sculpture, performance, and participatory works rooted in ecological research. Their practice moves slowly — through contaminated ground, living organisms, and overlooked materials. They ask what it means to pay attention to the more-than-human world at a time when it is disappearing.

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Don’t shit where you eat


2023
painting, installation
natural pigments, plant and fungi ink on paper
Van Gogh AIR, Zundert (NL)

Don’t shit where you eat I & II, 2023

Zundert, in the southern Netherlands, is flower country. The town is famous for its annual Corso parade — vast floats built entirely from dahlias — and the landscape around it is shaped almost entirely by agricultural industry. Nitrogen-heavy farming has suppressed the wild flora for decades. The fields are productive and largely lifeless.

During a residency at Van Gogh Huis and Atelier De Moeren in October 2023, Finding the Wild spent two months investigating the botany of the surrounding landscape — foraging plants and fungi from the forest edges, roadsides, and field margins that industrial agriculture had not yet reached. From these they made inks and pigments: an expanding palette of browns, yellows, greens, and occasional purples, each colour a record of what still managed to grow there.

The centrepiece of the residency is a diptych painting — a cow's head and its backside — built in the manner of Arcimboldo: each form assembled entirely from the foraged materials themselves. The head is composed of edible mushrooms; the body from the plants used to make the inks. Every pigment is natural, foraged locally. The cow is both subject and symptom — the animal whose industrial presence has displaced the very organisms it is painted from.

The residency produced several other works: Ink Pourings, a series of drawings made over the duration of the stay showing the interactions between natural pigments at varying pH levels; Dahlia Fountain, an installation using the flower of Zundert as backdrop, with spoon forms cast from Corso leftovers and ink spilling into them from above — a meditation on waste and excess; and a series of paper works made from waste paper and dahlia petals, which exist both as documentation and as independent editions.