Nature was a category invented like any other to justify actions and behaviors. Its history is intimately bound to the ages of exploration and exploitation, colonial expansion and conquest of the well-resourced world. Now it hangs in the balance, a category warped and altered in the age of technological and ecological dystopia. Enlarged specimens have an eerie look, made visible, palpable, in all their glory by the direct method of reproduction scanners and printers. They belong to the familiar category of monsters, unnatural beasts, though they are the most ordinary manifestations of evolutionary activity and growth. But when the other returns our gaze, seemingly aware, sentient, as if in recognition of the peculiar hide and seek game of who's in charge, then something disturbing begins to happen. The balance of power is off, brought about by some late night tinkering, some laboratory out of control, some theme park accident from which specimens escaped and got into the water supply. Some of these specimens show the difficulty of deciding what's local. What belongs where? No natural order of things seems to exist anymore. We're stuck in the weird science of a mutating ecosystem where artificial beings have as good a chance as any to survive the rapid changes. Nature's unnaturalism is exposed in the process, its definition shown up as dependent on the culture that creates it.

Joseph Scheer - Moths
Philip Zimmermann - Nature Abhors
Joel Dugan - Two of a Kind & Apescape
Alberto Rey - Rainbow Trout, Bighorn River, Fort Smith, Montana & Las Balsas
Alexis Rockman - Seaworld
Janet Zweig - Artificial Life