Mortiflorus begins as a journey into an unfamiliar digital landscape, where I was looking for the natural but came back with the synthetic.

Within this terrain, I found flowers that exist exclusively in digital form. Their radiance, emitted through pixels of light, is transferred onto analog photo paper, enabling these artificial plants to cross the threshold into the physical world.

In this way, the project operates at the intersection of science and fiction, digital and analog, while simultaneously reflecting on the shifting relationship between humans, nature, science, and technology at a moment when the boundaries between these domains are becoming increasingly porous.

The invention of photography once introduced a new dimension to science by providing an apparently objective means of describing and capturing reality. Over time, trust in the photographic medium became deeply embedded in cultural and scientific practices. Today, however, that trust is destabilized by rapidly advancing technologies in digital image processing and AI-driven image generation. The distinction between the physical and the digital, and consequently between the real and the synthetic, is dissolving.

Mortiflorus interrogates the consequences of this transformation. It asks how a balance can be maintained between physical and digital experience, how connections to slowness, to the natural, and to what once appeared self-evident might be preserved.

More urgently, it raises the question of whether technology remains under human control and can be directed toward ecological care, or whether it increasingly governs human perception and behavior, pushing society further into the digital domain. In doing so, the project invites reflection on the conditions of reality itself, at a time when its contours appear less and less certain.