For Art Basel Qatar's inaugural edition, Marfa' presents Caline Aoun's solo project Are Androids covered with electric dew?.
The artist presents constructed setups that unveil invisible forces perpetually shaping and transforming our environment. Inspired by Philip K. Dick’s vision of dissolving boundaries between the natural and the artificial, Caline Aoun stages encounters where elemental phenomena are artificially orchestrated, and manufactured materials take on the fragility of living systems.
In Dreaming of Electric Dew, aluminium monochromes are cooled with freezer compressors until dew and frost form, making visible the physical presence of humidity, a fleeting condition suspended between nature and the artificial.
In Measuring Entropy, paper pulp pressed onto a silicone cast of ground outside the artist’s Lebanese studio captures the slow accumulation of fallen pine needles, creating fossil-like imprints that speak to both ecological cycles and paper’s looming obsolescence.
Together, these works respond to the theme of Becoming, recording ephemeral traces not to preserve them, but to acknowledge transformation. They confront the paradox of technological progress: the more we replicate nature’s processes, the more we risk eroding the very systems we seek to emulate.
The artist presents constructed setups that unveil invisible forces perpetually shaping and transforming our environment. Inspired by Philip K. Dick’s vision of dissolving boundaries between the natural and the artificial, Caline Aoun stages encounters where elemental phenomena are artificially orchestrated, and manufactured materials take on the fragility of living systems.
In Dreaming of Electric Dew, aluminium monochromes are cooled with freezer compressors until dew and frost form, making visible the physical presence of humidity, a fleeting condition suspended between nature and the artificial.
In Measuring Entropy, paper pulp pressed onto a silicone cast of ground outside the artist’s Lebanese studio captures the slow accumulation of fallen pine needles, creating fossil-like imprints that speak to both ecological cycles and paper’s looming obsolescence.
Together, these works respond to the theme of Becoming, recording ephemeral traces not to preserve them, but to acknowledge transformation. They confront the paradox of technological progress: the more we replicate nature’s processes, the more we risk eroding the very systems we seek to emulate.