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The secret Life of Plants- With photographs by Michael Lange

The secret life of plants- With photographs by Michael Lange

The secret Life of Plants is the title of an album from 1979 by Stevie Wonder that I like very much mainly due to its eclectic variety of weird mysterious noises, which make me feel just like Alice in Wonderland on an exploration tour. The album is the soundtrack to the documentary The Secret Life of Plants (1978), directed by Walon Green, which was based on the book of the same name by Peter Tompkins and Christopher Bird. The book documents experiments, which deal with the idea that plants are sentient, that they experience pain and fear and react accordingly. Obviously the book and the movie were heavily criticized as the notion of plants having feelings was and still is considered paranormal and the experiments pseudoscientific. For me it is just the stuff that makes for perfect inspiration for my work. My latest pieces are titled Carnivore and I wrote an accompanying short story, which tells the story of a dissatisfied flower, who is turning into a giant greedy flesh-eating mouth.

Only recently scientists found proof through the use of modern technologies like MRI scanners that dogs have complex emotions like humans. This was still very much a controversial theme in the scientific world before. I think it is safe to say that everyone who has a dog and makes the effort to build a relationship with it can only wonder about such late acknowledgement of something that is so obvious. If you have ever shared your life with one of our loyal four-legged friends, you will never have wondered if they have similar feelings. More likely, you will have asked yourself how it is possible that your dog seems to understand your feelings much better than you understand what is going on in your dog. But it took science until today to find evidence that dogs have the same brain structures like us to feel emotions, that they produce the same hormones and undergo the same chemical changes when they are having them. A dog, so scientists believe today, has the emotional level of a three-year-old child, meaning dogs can feel love, suspicion, joy, anger, fear, disgust, distress, contentment and excitement just as we do. Shame, pride and guilt are emotions humans only develop later and scientists believe that dogs cannot experience them, but the last word is not spoken about that either I believe.

The secret life of plants- With photographs by Michael Lange

I am certainly not someone who is easily caught by paranormal ideas and theories, but I believe that knowledge and wisdom can be won through other ways than science alone. Peter Wohlleben, a German forester is sharing his observations about plants, particularly trees in a book titled Das geheime Leben der Bäume (The hidden Life of Trees). He describes how in the beginning of his career, he was treating trees as goods, assessing their value only by the price they would bring on the market. When he started to run survival training tours with tourists, his perception slowly changed and he started to become a keen observer of the forest, thereby coming across many fascinating wonders.

The forest- A social society?

The most significant assumption Peter Wohlleben makes in his book is probably that a forest is not an accumulation of individual trees, which don’t have anything to do with each other, but rather a kind of superorganism with a complex sophisticated system, which serves the purpose of keeping the whole forest with all its inhabitants intact, comparable to an ant colony. Only when the forest as a whole is healthy can it create an ecosystem, which is capable to resist cold and hot periods and buffer enough water so that the trees can live protectedly and so become really old. If a few of the inhabitants of a forest get sick and die, the roof of the forest breaks open and wind, heat and cold can enter. The soil partly becomes dry and the neighbours are endangered as well. So it is really in everybody`s interest that the neighbour stays fit too.
Peter Wohlleben describes that in order to keep this ecosystem in balance, the trees feed each other with nutritients, so that all have enough to thrive. Some trees stand on a better soil and therefore are able to a pump sugar solution to their neighbours, who are less lucky or are temporarily weakened by a vermin. Sounds like a successful system of social welfare…

But not all trees show a social behaviour towards their neighbours. The beech tree likes to cuddle with its family members, showing respect and taking care by sharing all resources even when standing really close to each other. If a beech gets close to a tree of another kind though, it develops an egotistical behaviour. Under the ground, the roots are pushing though every free space to subduct water and nutrients from the other. Unlike many other trees, the birch can enlarge the size of its crown lifelong and will do so until it has outrun any other kind of tree in close proximity. The others must hold out in the second floor.

The secret life of plants- With photographs by Michael Lange

Communication between trees

Peter Wohlleben states that the trees of a forest have a very well working system of communication through scents and even through electric signals, which travel though the interlaced underground network of roots and myceliums. With attractants some trees can bait certain enemies of a particular vermin. With others they warn their neighbour trees that enemies attacked them. As a result some tree families simultaneously produce untasty or even poisonous substances in their leaves and bark, so that the fiend looses appetite and withdraws. This happens quite slowly of course, but normally it works fast enough that none of the tress will suffer serious damage by the intruders. Trees in a forest also coordinate between them in which they blossom, because if they bloom together, a more successful mixing of genes is guaranteed.

Mr Wohlleben is sure that not only trees have the ability to communicate, but all plants in a healthy natural environment and that we didn’t even begin to understand the complex diverse ways of their communication. He also states that the more cultivated plants are, the more they seem to loose the ability to “talk”. He thinks it highly possible that growers would need less insecticides if they worked with wilder versions of their plants.

The secret life of plants- With photographs by Michael Lange

Educating their offspring and learning

Being a baby tree is hard. The grown ups are closing the crown of the forest, so that only very little light is coming through to the lower levels and too many siblings create a competitive situation. Peter Wohlleben found out that many of the little trees have to linger in the same height for a very long time and have to wait until one of their grown-up family members dies and comes down, so that there is light to make a leap in gaining height. Small trees, which look like only a few years old, can be already 80 years or older. It seems somehow cruel of the elder trees to claim all the sunlight for themselves and let their offspring stand in the dark, but forresters actually call this a pedagogical measure. Science found out that a very slow growth of young trees is the best supposition to reach an old age. The wood cells inside contain less air, so that the tree is more flexible and resistant in general. As the baby trees persevere in low levels close to the forest ground, the tree family is taking care of them by already integrating them into their network of feeding the week and needy.

According to the author, trees also have the ability to learn and often they have to learn the hard way. A tree can go without food for a while, but a lack of water very fast becomes a serious problem. Ignorant trees drink water greedily from the ground in spring and then often suffer injuries during hot summer periods. The tree trunk of the spruce for instance can get a crack, a wound from which the tree will suffer probably its whole life. But in the years to come the tree will handle its water budget more carefully, so that further such injuries can be prevented. But how is this even possible? Trees don’t have a brain where can they save knowledge and experience? For most scientists talking about trees which learn is as credible as a fairy tale, but some scientists already support this assumption, claiming that the tips of the tree’s roots might have similar structures to brains. Personally I find it very plausible that plants can learn too. We may not be able yet to explain it, but maybe this is only a matter of time.

The secret life of plants- With photographs by Michael Lange

Why are plants green?

We all learned about Photosynthesis in school: With the help of the chlorophyll the leaves use sunlight to produce nutrients and therfore energy. If the trees were able to use everything in an optimal way, there should be nothing left and the forest would be black even during the day. But chlorophyll cannot absorb the colour green and has to reflect the colours of this spectrum unusedly. This weekness of the chlorophyll is the reason why we can see the photosynthesis and why all plants appear green. I am wondering what the world would look like, if it wasn’t green the chlorophyll could not use, but blue, yellow, red or purple.
In some parks you can find beeches with red leaves. The reason for this anomaly is a disturbance of their metabolism. They lack an enzyme that is used to remove a red colourant, which was meant to safe the leaves from UV radiation. The emission of the red colours is causing a huge wastage of energy for the tree, so that they normally have a much shorter life expectancy.

The secret life of plants- With photographs by Michael Lange

The natural forest

In Germany it was decided that 5 % of all forests should be totally left alone, so that they can become the primeval forests of tomorrow. This is not much, but in Mr Wohlleben’s point of view it is a good beginning. The first early drastic changes in such a forest are already visible after only a few years. The originally planted conifers are eaten by insects, which could meanwhile multiply without hindrance. A couple of years later only a wasteland is left with pale tree skeletons. Not very romantic. But these dead trees build the best basis for the new forest to come. The first young generation of broadleaf trees have no parents to brake their growths and so they are not as strong as they should be. The social structure of a natural forest takes a long time to develop. Only after 100 years the plantation trees have vanished and only the second generation of broadleaf trees can grow protectedly under their parents welfare. When the second generation of trees reaches adulthood the forest becomes stable and can truly be called a natural forest. This forest would look like this: The tall mother trees would dominate the picture. They would have extremely straight and smooth trunks similar to the pillars of a cathedral, which would stand closely together and let only little sunlight though. The ground would show almost no bushes as they wouldn’t have enough light to grow. Maybe you imaged a natural forest as I did: chaotic and wild. But it seems that actually the opposite is true. Natural forests must draw an image of calm and order.

The secret life of plants- With photographs by Michael Lange

The newly found evidence of the emotional range of dogs naturally raised the question of a befitting treatment of dogs too. Surely an animal that can almost feel as strongly as us humans (oh most divine of all creatures) should be treated with respect. But what about all other animals for which scientists didn’t yet find evidence for their abilities to feel? Shouldn’t we better treat all animals respectfully (Scientists in California claim that fruit flys are able to dream…)? Or maybe even all living beings? Where would it leave us if we started to think about plant rights and plant welfare?

Peter Wohlleben is indeed comparing our exploitation of the forests to the suffering of farm animals. But he is also acknowledging the fact that we humans as well as all animals can only survive by killing other living beings. The question is, can we do it in a way that would avoid unnecessary suffering? And comparable to animals that would mean that trees would be able to live out their social needs in a natural forest climate. It should be apparent to us that forests are not only factories for wood but home and protection to countless animals and places of recovery for humans. I myself walk every day in a forest, which is only just behind where we live. I love walking there, but I can’t help feeling a sad energy inside this forest and since I read Mr Wohlleben’s book I think I have more of an idea why. Several times a year woodworkers are going in with heavy machinery. It always seems quite brutal and careless. The forest has already changed very much in the three years I have known it and some former nice places are in a desolate condition now. I can’t help wondering what this forest would look like if it could develop in a more natural way and if the woodworks would be handled with care.

The secret life of plants- With photographs by Michael Lange


Born in Heidelberg, Germany, Michael Lange has been working since the late seventies as a magazine and commercial photographer and has been focusing on personal projects the last 20 years. He is currently based in Hamburg, Germany.
He has had numerous solo shows, amongst others at the prestigious Alfred Ehrhardt Foundation in Berlin, Robert Morat Gallery Hamburg, L.A. Gallery Frankfurt, Wouter van Leeuwen Gallery Amsterdam, photo-eye gallery Santa Fe and Kopeikin Gallery in Los Angeles. His work was part of various Photofestivals and fares such as „La Gacilly“ in France, „Noorderlicht“ in the Netherlands, or Paris Photo. He has twice been the recipient of the Stiftung Kulturfonds grant in Germany.

WALD – Landscapes of Memory searches for stillness and harmony. Michael Lange captures timelessness in lands seemingly untouched by human hands. Photographed over the course of three years in the coniferous and deciduous forests of Germany during the twilight hours, WALD is a documentation of the forest in its mythic form. The idea of the forest has been imaginary for centuries. Through fairytales and mythical narratives, the forest has emphatically written itself into collective memory. In it, the forest’s visual substance mostly sees itself as a psychic area of retreat, in which childish longings and fears can live on. Lange found those places of retreat in which the imaginings of childhood condense, in sober nature documentary form, into impressive visual coinages. His photographs were created beyond the paths and hiking trails, often in the thicket and dense undergrowth. He visually captures an experience that is expressed in the German Romantic specific term „Waldeinsamkeit“ – Sylvan Solitude.
His books WALD and FLUSS had been published by Hatje Cantz 2012 + 2015. Signed copies can be ordered at

1 Michael Lange: WALD # 0095, 2009
2 Michael Lange: WALD # 6678, 2010
3 Michael Lange: WALD # 2016, 2011
4 Michael Lange: WALD # 1000, 2010
5 Michael Lange: WALD # 0576, 2009
6 Michael Lange: WALD # 0252, 2009
7 Michael Lange: WALD # 0075, 2009
8 Michael Lange: WALD # 0172, 2009

Text edit: Hayley Grafflin

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The history of blue- Part 1. With drawings by Zaria Forman


“The deeper the blue becomes, the more strongly it calls man towards the infinite, awakening in him a desire for the pure and, finally, for the supernatural… The brighter it becomes, the more it loses its sound, until it turns into silent stillness and becomes white.” Wassily Kandinsky

Blue is big and boundless, the colour of the divine, the colour of longing and dreaming. In nature we mainly encounter blue in vast dimensions like the water of the ocean or the sky. For me blue is the colour of regeneration; quiet, but strong, soothing, but inspiring. Blue helps me to connect to myself, to find balance. It is like a trustworthy old friend for me and even though my favourite colours used to change every few years, blue was always amongst them.

Most people seem to have a similar affection for blue. Whereas the second most-popular colour varies from country to country, blue is the most popular colour all over the globe, even in China, where blue isn’t even considered a primary colour (based on the theory of the 5 elements and their colours). This worldwide preference for blue is very remarkable, because blue played only a minor role over a long period of time in human history. In fact its triumph as the most popular colour in art, decorations, language and literature is proportionally a quite young phenomenon.

Zaria Forman 2

Where ancient cultures able to see the colour blue?

There is no blue in ancient cave paintings and most ancient societies seem to have ignored it. The Greek didn’t have a name for it (Homer describes the ocean as “wine-dark”) and also ancient Hindu, Chinese, Arabic or Hebrew texts lack any mention of a word for blue. Researchers found out that the three colours, which were always named first were black, white (developing from light and dark) and red (blood?) followed by green and yellow (esculent things). Scientists were wondering if it was possible that people weren’t able to see the colour blue at the time, but disregarded the idea. It is much more likely that they didn´t notice it. Blue is not an earth colour, it rarely appears in nature (there are, for exemple, only a few blue animals, fruits or vegetables) and therefore people didn’t give it a name. And it seems the things we don’t give a name, don’t exist for us. The more detailed we describe something with words on the other hand, the more detailed we perceive it.

Researcher Jules Davidoff investigated this with the tribe of the Himba in Namibia, who have no word for blue, but several words for hues of green. He showed them a circle with 11 green squares and only one blue. The Himba often could not pick out the blue one, but when they were shown a circle with green squares and only one green square had a slightly different hue, they could easily notice the difference. Pretty fascinating!
Another research with native Russian speakers is also very interesting regarding this notion: In the Russian language there is no single word for blue, but a word for light blue (goluboy) and one for dark blue (siniy). The tests revealed that the Russian speakers could much faster identify the value of a shade of blue than the English speakers.

Zaria Forman 3

Blue in ancient Egypt and the Roman Empire

The first culture which produced blue pigments where the Egyptians when they discovered lapis lazuli by mining and this is probably also why they were the first to create a word for blue. The Egyptians admired the blue stone and made beautiful adornments combining it with gold. It is also said that Cleopatra used powdered lapis lazuli as eye shadow. The lapis lazuli however was so rare and the demand for blue pigment so high that they invented the world’s first artificial pigment (Egyptian Blue) by heating together limestone, sand and copper into calcium copper silicate. The new blue pigment was used for everything decorative- from painting wood to making faience beads, but also for funeral statuary and for dying the cloth of the mummies. The Egyptians believed that blue could protect the dead against the evil in the afterworld.

Even though the Romans imported blue dyes and pigments like indigo and Egyptian Blue and used blue pigment in large amounts for decoration like wall paintings, blue was not a reputable colour in ancient Rome. Only the working class wore blue dyed clothes. The Celts, who were actually quite fond of blue, painted their faces with dye from the woad plant to scare off Caesar’s army. This must have made an impression, because blue remained quite unfashionable in the Roman Empire. After all it was the colour of the “barbarians”. The aristocracy of Rome was wearing shades of red, which were so popular that the word for dyed (coloratus) and for red (ruber) were used as synonyms.

Zaria Forman 4

Blue in medieval Europe

During the earlier middle ages, blue played only a minor role in Europe. The nobility still wore mainly red and purple. The clergy had no use for blue either, neither in their rich robes, nor in the decoration of the churches. Also in art blue was of no importance. The sky was painted in white, red or gold. Family names, names of villages or cities also never referred to the colour blue…

The dramatic change began after glass painters finished the blue windows of the new building of the Saint Denis Basilica in Paris around 1140, which became the wonder of the Christian world. From there the blue church windows spread all across Europe. Another important factor increased the prestige of blue simultaneously: Blue was now used for depictions of the Virgin Mary’s cloak. In the past she was dressed in different dark colours like black, brown, dark blue or dark green. After 1150 the cloak of Mary became a lighter and more luscious blue, painted with the most expensive pigment; ultramarine, the pigment made of lapis lazuli. Henceforth the colour blue was associated with holiness, humility and virtue. The Virgin Mary’s symbolic colours would still change a couple of times through the centuries, but the ascent of the colour blue was set in motion. Other professions absorbed the use of blue like the enamel painters and book illustrators.

Zaria Forman 5

The countless sumptuary laws allowed only the nobility to wear red, but everybody was allowed to wear blue and so blue became a popular colour for the working class. The more brilliant fine blue cloth (e.g. blue silk imported from China) was reserved for the high society as well though. Around 1200 the cloth dyers in Europe managed to produce a more luminous light blue with the dye from the woad plant for the first time. Before this discovery, blue woad cloth had been washed out and greyish. Woad was soon grown industrially in some regions in Europe, which specialized in this thriving industry to meet the growing demand.

In German “blau sein” (to be blue) means not to be melancholic, but to be drunk. This expression has its roots in the woad dying. The leaves of the woad plant were mashed in human urine and then dried in the sun. The fermenting process produced alcohol, which released the blue dye from the leaves. The chemical details were of course not known at the time, but it was noted that the dye got stronger if alcohol was added. However, alcohol was too precious to use directly for this purpose, and so the logical conclusion was to drink it first and then use the enriched urine to make the dye. Old recipes suggest that the drunker the man, the better the blue. Producing blue dye from woad must have been a merry matter. Another German expression is proof for this: “Blau machen” (to make blue) means to stay absent from work without good reason. As generally known the sun in Germany can be absent for painfully long periods of time. The woad mush needed the sun though to reveal the blue and the dyers often didn’t have much more to do than to wait for the sun to come out again.

Zaria Forman 6

King Louis IX of France (1214- 1270) was the first king who regularly dressed in blue, which was quickly imitated by other kings and their royal suites. This contributed immensely to the image of blue, which is also clearly evident in the heraldry of Europe; between the middle of the 12th century and the end of the 15th century the use of blue in the coat of arms all over Europe raised from 5 to 30 percent. The most famous exemple of this is the Fleur-de-lis of the king of France (golden lilies upon a blue background). In Europe, blue had advanced to the royal colour, per se, and symbolised wealth and power. Slowly but surely, blue was on the rise to replace the primacy of the colour red.

Part 2 will be following soon.


Zaria Forman was born in South Natick in 1982, Massachusetts and currently works and resides in Brooklyn, New York. She studied at the Student Art Centers International in Florence, Italy and received a BS in Studio Arts at Skidmore College in New York. Zaria’s works have been in publications such as Juxtapoz Magazine, National Geographic Magazine, Huffington Post, and the Smithsonian Magazine. Zaria was featured on Good Day New York, Fox News, and interviewed by Lucy Yang on ABC7 Eyewitness News. Zaria recently participated in Banksy’s Dismaland; soon she will speak at a live TED event at the Town Hall Theater in NYC, and embark as an artist-in-residence aboard the National Geographic Explorer for five weeks in Antarctica.

Zaria Forman 7

1 Zaria Forman: Lemarie Channel, Antarctica, 2015; Soft pastel on paper; 44” x 60”; Image courtesy: Zaria Forman
2 Zaria Forman: Greenland no.60, 2013; Soft pastel on paper; 30” x 44”; Image courtesy: Zaria Forman
3 Zaria Forman: Greenland no.52, 2012; Soft pastel on paper; 45” x 60”; Image courtesy: Zaria Forman
4 Zaria Forman: Maldives no.4; 2013; Soft pastel on paper; 41” x 60”; Image courtesy: Zaria Forman
5 Zaria Forman: Deception Island, Antarctica, 2015; Soft pastel on paper; 72” x 128”; Image courtesy: Zaria Forman
6 Zaria Forman: Greenland no.68, 2013; Soft pastel on paper; 30” x 44”; Image courtesy: Zaria Forman
7 Zaria Forman: Greenland no.61, 2013; Soft pastel on paper; 40” x 60”; Image courtesy: Zaria Forman

Text edit: Hayley Grafflin

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Where Blue hides after Dark


“Where Blue hides after Dark ” was the title of my first solo exhibition in Sienna Gallery in Autumn 2014 where I was showing pieces from the  “Karma Chroma” – series. Sienna Patti and I decided to make a catalogue to accompany the exhibition. It was immediately clear to me that I would like photos of the pieces worn upon the body in this catalogue besides pictures of the pieces on white paper.

In the past, I didn’t think of the body much whilst making my jewellery pieces. For me, it was actually more like creating sculptures on a small scale which had the option of being attached to the body. Once people started buying and wearing some pieces of mine, I realised how the pieces came to life when they were put on the body… I am making jewellery after all.

Before this project I photographed my pieces on the body myself. I was asking friends to model for me, quite casually photographing them wearing my work in front of a white wall. These pictures were not bad, but they were also nothing special.


For this catalogue I wanted something more sophisticated, with a narrative and I knew that I wouldn’t be able to achieve this myself. However, finding the right person for such a project can be a cause of sleepless nights. I wanted a photographer who would be able to create a strong atmosphere in the photographs without taking too much attention from the jewellery pieces. I didn´t want the images to appear too much like fashion photography, yet still retain a tiny touch of a gloss; a very fine line. So I was looking for a person with a sensitive understanding of the artworks, but also someone who has her/his own strong visual expressiveness.

It was pure luck that brought me together with Laurens Grigoleit. A friend of mine, who had just recently photographed by him, made the contact. Laurens, who creates artistic photographs as well as working as a fashion photographer, was not only interested in taking the pictures, but even offered to bring a whole professional team including make up artist Nadja Kaiser, stylist Katharina Gruszczynski and Laurens´ photo assistant.


The models were our mutual friend Angela Geisenhofer, Stefano Troia and Mari Halang (who was, back then, only starting her career, but has since worked for huge companies, such as Zara, Mango and Monki).

I was excited and a bit anxious at the prospect of working with so many people on these photographs but I needn’t have worried; everyone involved was extremely sensitive and professional. We had discussed ideas for the images by phone already and so on the actual day of the shoot, I didn’t have much more to do than to serve snacks and drinks and watch it all happen. I was particularly amazed by the complicated nature of the lighting. Laurens and his assistant took a lot of time in the beginning to construct this lighting and I couldn’t imagine at all how this would appear in the images. When I then saw the first photos on the screen, I was quite amazed. He brilliantly uses an effective incidence of light to create a kind of painterly impression, making the images look almost like renaissance portraits.



The stylist Katharina and the make-up artist Nadja also did a wonderful job. Together they succeeded to create these strong and beautiful images, which cannot really be defined in time or place.

The second really lucky thing to happen regarding this catalogue was that jewellery artist Karen Pontoppidan, former professor at the Konstfack Universitiy College of Art, Craft and Design in Stockholm and now newly appointed Professor of the jewellery department at the Academy of Fine Arts Munich, agreed to write an essay about my work. As expected this turned out to be striking and very perceptive.

Sienna Patti asked me, if I would also like to write a text for the catalogue. I struggled for days, trying to put my thoughts and feelings about this work into words. I always disliked writing artist statements. I think this must be because my work is so emotional and intuitive. Often I had the feeling that I was taking away some of the work’s “magic” by trying to characterize it in words. In the end, I decided not to write an explanation about the work, but a short story; a kind of fairytale, which is connected to it. This was, in fact, a dream I had:

Blue was a cautious, thoughtful being that knew it had to take good care of itself in order not to lose any of its radiance and glow. Whenever it felt weak and turned pale, Blue retreated to a safe, well- hidden place, resting until it regained its former strength. The other colours were not that prudent. Even though they may have been stronger, bolder and more vibrant than Blue, they were blinded by their own beauty and did not grasp the peril of being present and radiant all the time. So it came that even after all other colours had faded and almost vanished from this world, Blue was still gleaming vividly on the waves of the oceans and in the currents of the sky.


Who is Blue? No sense in denying that I can identify myself with the Blue creature in my dream. I often have to retire from the social world in order to function or simply to feel like myself again. I guess I do fit the stereotype of the unworldly hypersensitive artist. Yet in my dream, Blue actually accepts this weakness and even turns it into its strength.

I have since realised that creating art is doing this for me; turning my weaknesses into a potent energy. When I feel I have to reload my batteries or when I feel lost, I go to my well-hidden workshop in the middle of nowhere and start to create. This is my safe place and I am very thankful to have it.




1 Sting, necklace, 2013; graffiti, silver; 19,5 x 8,8 x 2,4 cm; Photo: Laurens Grigoleit
2 Medulla 3, necklace, 2014; cactus, graffiti, silver; 26 x 46 x 3,4 cm; Photo: Laurens Grigoleit
3 Medulla 2, earrings, 2014; cactus, graffiti, silver, paint; 6,2 x 2,4 x 1,4 cm; Photo: Laurens Grigoleit
4 Raduga Tree 3, brooch, 2014; graffiti, silver, stainless steel; 18,0 x 7,2 x 5,4 cm; Photo: Laurens Grigoleit
5 Nugget, brooch, 2014; graffiti, silver, stainless steel; 6,4 x 5,3 x 3,2 cm; Photo: Laurens Grigoleit
6 Where Blue hides after Dark, brooch, 2014; graffiti, glass, silver, stainless steel; 12,7 x 4,3 x 2,3 cm; Photo: Laurens Grigoleit
7 Rabbit´s Foot, necklace, 2014; graffiti, wood, silver, paint; pendant: 8,8 x 7,0 x 3,3 cm, chain: 67 cm; Photo: Laurens Grigoleit
8 Heart Tree, necklace, 2014; graffiti, wood, silver, paint; 44 x 23 x 8,0 cm; Photo: Laurens Grigoleit
9 Raduga Buds 4, necklace, 2014; wood, graffiti, silver, paint; 25 x 41 x 3,3 cm; Photo: Laurens Grigoleit

Text edit: Hayley Grafflin