Rooted Beings gallery captions

Plants sustain life on earth. They absorb carbon dioxide and release oxygen through photosynthesis and provide food and shelter for other species – including humans. But they are also sensitive beings, attentive to the elements, connected to life forms around them; rooted, but constantly adapting to survive and flourish. Humans are creatures of the soil (the word ‘human’ comes from the Latin humus: soil) but we have increasingly cut our ties to the land and the rest of the living world. We treat plants as resources for our consumption, degrading the vital and fragile entanglements between human and non-human lives. 

‘Rooted Beings’ reimagines our relationship with plants and proposes a meditative reflection on the vegetal world and what we can learn from it.  

“You are in an endless state of communion and infinite contemplation with other natural elements and beings. Can you see with your skin and hear with your arms? Can you think together with the air and the sun and the soil?”

Michael Marder and Eduardo Navarro, ‘Vegetal Transmutation’

This exhibition is a collaboration with La Casa Encendida, Fundación Montemadrid. This exhibition has been produced in line with environmentally sustainable practices. We have reused structures from previous exhibitions, and where this was not possible, we have prioritised recyclable materials.

British Sign Language

Please join artist Rubbena Aurangzeb-Tariq as she introduces the gallery and interprets some of the audio artworks in the exhibition. Look out for the QR code and BSL symbol next to the artworks.

700 million years ago

Photosynthetic marine organisms – green algae – emerge. 

450 million years ago

The first terrestrial plants develop. They don’t have a vascular system capable of transporting water, so grow in humid environments. 

251 million years ago

Seed-carrying plants become dominant.  

66 million years ago

Vast ecosystems of savannahs and grasslands become established, where animals can flourish. Conifers become dominant in colder climates, while angiosperms – plants with flowers – prevail in tropical climates.  

300,000 years ago

First humans evolved. 

13,000 years ago

Agriculture begins.

19th century

The Anthropocene Era: human activity has a global impact on terrestrial ecosystems. 

Present day

Biodiversity loss and climate change impact planetary and human health, and increase the risk of future pandemics.  

fragment-A

RESOLVE Collective
Commissioned by Wellcome Collection in partnership with De La Warr Pavilion and West Dean College of Arts and Conservation

‘fragment-A’ was created through ‘bashment’, an appropriated knapping technique used to process and reassemble salvaged materials from nearby construction sites. It underlines the entanglement of human activity and “material lives” (the cultural and political meaning of a material, beyond its physical or chemical properties) in our built and unbuilt environments.  

‘Bashment' plays on the Germanic root of knapping, knopp, or “to strike”, and the Jamaican Patois term for dancehall music and raving. RESOLVE describe bashment as a creolising of the knapping method. Martiniquais philosopher Edouard Glissant’s definition of creolisation moves beyond the merging of different cultures, to one that focuses on ‘errantry’. For RESOLVE, this means a process of making that uproots conventional perspectives on the making unnatural of so-called ’natural’ materials. 

This work is part of an ongoing research programme ‘What the Wild Things Are’, which excavates wilderness in the city. 

A Great Seaweed Day: Gut Weed (Ulva intestinalis)

Ingela Ihrman, 2019
Courtesy of the artist

Ingela Ihrman’s algae installations were conceived during a period of research and convalescence on the Swedish coast at Malmö and the Koster Islands, and on the Isle of Eigg in Scotland. They investigate links between her intestinal flora and marine flora.  

Fieldwork documentation of the artist collecting seaweed samples 
Photography by Sebastian Dahlqvist 

Symbiosis

We live in symbiotic relationships with plants, from their role in the air we breathe, to our use of them in food and medicine. 

Thirteen thousand years ago, humans began domesticating plants through agriculture. Agricultural cycles shaped the modern world and, in turn, rooted human culture, as farming replaced the nomadic hunter-gatherer existence.  

Plants exist in mutually beneficial relationships with the world around them: sharing resources via complex networks of mycorrhizal fungi and benefiting from animal interactions, such as pollination. 

Humans also have the capacity to nurture ecosystems, but our way of life has led to the extinction of many species. The ‘Anthropocene’ is a term used to describe this period in Earth’s history when human activity has started to have a significant impact on the planet’s climate and ecosystems. Philosophers are now calling for the ‘Symbiocene’, a period of reintegration between humans and all living beings. 

Gözde İlkin

“The attitude of plants can be a mirror of our lifestyle. Although we hear, smell, and speak in different ways, we are reflections of each other as human-animal and plant. I wanted to present an arrangement that voices our place, our time, and our relationship with the world, with hand-sewn fabrics that convey the memory and attitude of plants.”

Gözde İlkin 

Gözde İlkin collects found textiles from domestic environments and uses embroidery, painting, collage and natural dyes to create visions that transcend human, animal and plant categories. İlkin describes the fabrics as ‘stages’, spaces for the elusive, fantastic beings she creates to inhabit. These works expand her interest in plant intelligence and interspecies symbiosis, and question power relations, gender identity and urban transformations. 

Linens, curtains and tablecloths, sewn and collaged by Ilkin and her mother, blend together a variety of ancestral materials and technical knowledge. Combining meanings from different cultures, each piece becomes a story that inhabits the intermediate spaces between plants and people, mourning and birth, the dead and the living. The radiant colours are made using extracts of medicinal and ceremonial plants, referencing the healing and transformative power ascribed to plants during shamanic rituals.

As the Roots Spoke, the Cracks Deepen

Gözde İlkin, 2019–20
Commissioned by the 13th Gwangju Biennale
Supported by SAHA – Supporting Contemporary Art from Turkey
Special thanks to Musée d’Art Contemporain du Val-de-Marne, Paris
Courtesy of artSümer Gallery, Istanbul and Gypsum Gallery, Cairo

on right: 
‘The Ground Opening: Mourning and Birth’

on left, from front to back: 
‘Stone of Vacuity’
‘Opening the Sky: Dance of the Dormant Seeds’
‘The Tide, Myself’s Several People’
‘Shaman’
‘The Entrustment Shaman’
‘Bridge’ 

A dehiscing puffball (Lycoperdon species) and four types of clubmoss (Lycopodium)

John Pass, 1815 
Wellcome Collection: 25524i 

Parasitic fungi (Nyctalis species) growing on decayed Russula fungi

R Baker, 1889 
Wellcome Collection: 21650i 

A bracket fungus (Trametes suaveolens): two fruiting bodies growing on wood

R Baker, 1897 
Wellcome Collection: 21676i 

Ecosystems on land are founded on fungi. They served as root systems for plants for tens of millions years, until they evolved their own. Today, over 90 per cent of plants depend on underground networks of mycorrhizal fungi. Sometimes referred to as the ‘Wood Wide Web’, these networks can transfer water, carbon, nitrogen and other nutrients between plants.  

Wood-rotting fungi break down wood, releasing nutrients into the environment, which supports new growth. Fungi can even help restore contaminated ecosystems in the emerging fields of ‘mycoremediation’ and ‘mycofiltration’. 

Doctrine of signatures: plant resembling a bee

Unknown maker, 19th century 
Drawing based on a woodcut published in Phytognomonica Io. Baptistæ portæ Neopolitani, octo libris contenta by Giambattista Della Porta, 1588 
Wellcome Collection: 524727i 

Originally called the “humble bee orchid”, this species was given its name because the flowers mimic a female bee, both in scent and appearance. The male bee is tricked into landing on the flower in an attempt to mate with it. When the bee moves on to another plant, it transfers pollen from the first orchid to the next. In the absence of a suitable insect pollinator, bee orchids are able to self-pollinate. 

Johnson Papyrus

Unknown maker, 400 CE 
Fragment of a leaf from an illustrated herbal, found by John de M Johnson in 1904 at Antinoë, Egypt, while working for the Egypt Exploration Fund 
Wellcome Collection: MS.5753 

This papyrus is thought to be the earliest existing fragment of an illustrated herbal used for medical purposes. One side shows a coloured drawing of ‘symphytum’, thought to be Symphytum officinale, or comfrey which has been valued in traditional medicine for its anti-inflammatory, analgesic and astringent properties. The reverse shows a plant labelled “flommos“. It is an ancient example of our instrumental relationship with plant life. 

Jambudvipa, the central continent of the middle world in Jain cosmology

Unknown maker, c. 19th century 
Wellcome Collection: 575181i 

Jainism teaches that plants, animals and elements like air and water, as well as humans, have souls – jiva. One of the five principles of Jainism is ahimsa or nonviolence towards any living entity. 

This extensively inscribed concentric diagram depicts Jambudvipa, or the “land of Jambu trees”. Jambudvipa is the realm of human beings in Hindu, Buddhist and Jain cosmology. This tradition of illustration dates back more than 1,200 years.  

The Inner Ocean: The Passion Flower

Ingela Ihrman, 2017 
Moderna Museet, Stockholm 

Ingela Ihrman created this passion flower costume as part of a series of ‘blooming’ performances. The artist describes the act of dressing up as a flower as one of intimacy and attraction. She states that it is about how it feels to be “an artist, a human, a woman, a body, it’s about fertility, death and puberty, to have desires and looking for ways to attract”. 

Like many other flowering plants, Passifloras produce a sweet liquid in their honey glands, situated at the base of the petals, in order to attract pollinators. When performed, the costume is activated by the artist, transforming it from bud to bloom. The audience is invited to drink ‘nectar’ from the flower once the petals have opened, to become the pollinators.  

Colonial violence and indigenous knowledge

European scientific expeditions to Latin America in the 18th century collected hundreds of botanical specimens. These were preserved in herbariums where they were classified, ordered and renamed. The cultivation of these plants played a key role in the expansion of European empires. Local knowledge and labour were exploited, and indigenous cultures erased. Plants and human bodies were moved around the world, creating monocultures fuelled by slavery, which devastated ecosystems and uprooted populations. These issues are ongoing and continue to endanger fragile and vital alliances between people and the living world. 

‘Traditional Ecological Knowledges’, meanwhile, refer to a deep understanding of local environments, usually held by indigenous communities. These are evolving bodies of knowledge, practice and belief, often founded on reciprocity and respect for the relationships between living things. 

Patricia Domínguez

“I started from the scientific point of view by studying botanical gardens and natural science illustrations, and slowly opened my perception to a more energetic relationship to plants. I am in the process of understanding how powerful they are, their non-verbal and chemical communication with us. Plants permeate our cells, ourselves, we are living through plants.”

Patricia Domínguez 

Patricia Domínguez’s work brings together experimental research on ethnobotany (the study of how people from particular areas or cultures use indigenous plants), healing practices and the commercialisation of wellbeing. This newly commissioned installation uses the South American and European collections at the Royal Botanic Gardens, Kew and Wellcome Collection to explore narratives of colonial and neocolonial violence and honour indigenous knowledge on healing and nurturing the living world.  

The work focuses on a selection of specimens: Brugmansia, Banisteriopsis caapi (used for the visionary yagé or ayahuasca), cinchona and mandrake. Material related to each plant is displayed within futuristic totems, with the central one honouring pre-Columbian symbolic, spiritual knowledge and vision.

Vegetal Matrix

Patricia Domínguez, 2021 
Hologram design in collaboration with Álvaro Muñoz 
Music design: Futuro Fósil 
Totems design: CMMV Group 
Collections research and texts: Kim Walker, Cinthya Lana and Dominic Neergheen, with thanks to Harri Kettunen 
Commissioned by Wellcome Collection and La Casa Encendida, in partnership with Delfina Foundation  
Objects and reproductions courtesy of Royal Botanic Gardens, Kew; Wellcome Collection and Museo de America, Madrid.

This installation is accompanied by a comprehensive printed guide. Please take one to find out more.  

Joseca

“I want to warn the white people before they wind up tearing the sky’s roots out of the ground.”

Davi Kopenawa, shaman and spokesperson for the Yanomami people in Brazil 

Joseca is a Yanomami artist living in the Brazilian Amazon. His detailed drawings combine images of shamanic plant spirits, summoned to restore health and fight off disease, with scenes from daily life in the forest. They illustrate the significance of trees as central to the ecosystem that supports human and non-human life.  

Trees are considered critical for ensuring a healthy supply of water through their symbiotic relationship with rain. This is symbolised in Maa hi, the great rain tree.  

The Yanomami are a group of communities of hunter-gatherers and horticulturalists whose land sits on the border between Venezuela and Brazil. As inhabitants of the forest-land (Urihi thëri pë) they have a deep knowledge of the forest as an entity endowed with sensitivity. Its trees feel pain when their trunks are attacked with axes or by fire. The Yanomami shamans can hear their laments when they dry up or fall down, mortally wounded. 

Adapted from ‘The Rain Tree’ by anthropologist Bruce Albert. 

The Fondation Cartier pour l’art contemporain (Paris, France) has given a platform to the Yanomami community by exhibiting the works of several artists including Joseca. Fondation Cartier always works with Bruce Albert, the Hutukara Associação Yanomami in Brazil and its leader Davi Kopenawa.  

Aro kohi, Rio kosi, Aroko hi, Hai hi, Hawari hi

Joseca, 2004–19 
Collection Fondation Cartier pour l’art contemporain, Paris 

Hotorea kosihi

Joseca, 2004–19 
Collection Fondation Cartier pour l’art contemporain, Paris 

Maima si, Kahu usihi, Oporema axihi, Manaka si, Ruruasi hana, Rapahi

Joseca, 2004–19 
Collection Fondation Cartier pour l’art contemporain, Paris 

Wari mahi

Joseca, 2004–19 
Collection Fondation Cartier pour l’art contemporain, Paris 

Untitled, Wari mahi

Joseca, 2004–19 
Collection Fondation Cartier pour l’art contemporain, Paris 

Amoa hi, Arokohiri a xapiri, Untitled

Joseca, 2004–19 
Collection Fondation Cartier pour l’art contemporain, Paris 

Maa hi, Storm over the forest

Joseca, 2004–19 
Collection Fondation Cartier pour l’art contemporain, Paris 

Film portrait: Davi Kopenawa

Collection Fondation Cartier pour l’art contemporain, 2020 
Directed by David Desrimais 
Edited by Theodore Berg Boy 
Duration 4 mins 35 secs 
Collection Fondation Cartier pour l’art contemporain, Paris 

“Those trees are the work of the Yanomami. They were drawn in our homes, in our forest. White people asked for these drawings in order to show them in their cities. But we did not send them far away for no reason. We did so that they can reflect in turn and say to themselves: ‘It’s true! This is how the beauty of the Yanomami forest shows itself!’ And we, from afar, carry the value of these images with us.” 

Davi Kopenawa, Yanomami 

The Yanomami Indigenous Territory was legally registered by presidential decree in 1992. Since then, however, it has been invaded by more than 20,000 miners who have brought environmental destruction and, more recently, Covid-19 to the communities. The Yanomami lead a constant struggle to defend their lives, rights and to protect their forest. 

Davi Kopenawa is a shaman and spokesperson for the Yanomami. This film portrait documents his campaign to widen understanding of the urgent challenges facing communities living in the Amazon.  

Wildness

Humans often seek to control wildness in pursuit of ‘civilisation’. This desire reinforces an artificial separation between nature and culture and has resulted in acts of racist and environmental violence against human and non-human lives. 

The concept of wildness challenges the notion of the human being as an independent entity, separate and distinct from the rest of the living world. It invites us to relinquish control, to ‘rewild’ the land, our cities and our minds, allowing biodiversity to recover and ecosystems to restore themselves, both inside and outside our bodies.  

Can wildness allow us to redefine our relationship to the living world from within? Could the longevity and resilience of the vegetal world inspire us to take time to be more rooted, adaptable and attentive to our environment?  

Eduardo Navarro

“I think there’s something about conceiving plants as a territory, it’s completely dark and you are there trying to figure things out: in this vegetal territory there are endless possibilities to rethink how we live.”

Eduardo Navarro 

Eduardo Navarro describes his work as emotional technology, a tool that allows us to develop trust, empathy and contemplation with non-human entities. He invites us to soothe our rational mind, become more embodied and reconnect to our somatic awareness.  

A meditative set of instructions, written with philosopher Michael Marder, and a site-specific performance under a local great plane tree encourage us to commune with – and learn from – plants. Navarro’s series of expansive and contemplative drawings depict part-human, part-plant beings. The work is made with charcoal on handmade, biodegradable envelopes, which contain London plane tree seeds. At the end of the exhibition, the envelopes will be placed in an open landscape, returning them to the soil. As the “biodegradable wombs” decompose, the seeds inside them will be activated. 

Vegetal Transmutation

Eduardo Navarro and Michael Marder, 2020 
Commissioned by Wellcome Collection and La Casa Encendida, in partnership with Delfina Foundation 

 Please use these performative instructions to explore the exhibition as a plant might. 

To listen in gallery, use headphones on bench 
Read by Monica Gagliano 
Duration: 7 mins 29 secs 

Watch the BSL video for 'Vegetal Transmutation' or read the transcription
Interpretation by Rubbena Aurangzeb-Tariq 
Duration: 10 mins 34 secs 

Photosynthetics (Fotosintéticos)

Eduardo Navarro, 2021 
Commissioned by Wellcome Collection and La Casa Encendida, in partnership with Delfina Foundation 

‘Spectra’ prototype skin suit

Eduardo Navarro, 2021 
Maker: Soft Tissue Studio 
Courtesy of the artist 

The Phasmatodea, or Spectra, are an order of insects that resemble plants. Commonly known as stick insects, they are also referred to as ghost insects. The fabric of this insect suit is made to mirror the bark of the London plane tree (Platanus x acerifolia), breaking down the boundaries between human phantom, insect and plant. Several of these skins will be activated in a performance under the Great Plane, a 200-year-old plane tree in Brunswick Square, local to Wellcome Collection. 

Ingela Ihrman

“Perhaps we have forgotten how to cultivate our sensitivity towards non-human life. I long for other ways of being, rather than the rational Western human. In my work, I’m using the seaweeds to enter into my tummy: a vegetative place, both human and non-human, a thriving inhabited ecosystem inseparable from what I refer to as myself.”

Ingela Ihrman

‘A Great Seaweed Day’ is part of a wider project called ‘The Inner Ocean’, inspired by Ingela Ihrman’s love of swimming in the sea. ‘The Inner Ocean’ refers to the fluid that surrounds egg cells in all land-living mammals. This liquid has the same salinity as the primal ocean once had, where life first emerged. Ihrman’s seaweed sculptures suggest a deep connection between ocean ecosystems and our bodies. She describes the use of green algae gut weed (Ulva intestinalis) in her work as “a link between gut flora and marine flora: a slippery channel for returning to the water…” 

The title of the series is inspired by a diary entry written by Margaret Gatty (1809−73), an English writer and field biologist who studied seashore lifeforms. In 1848, Gatty spent time on the coast in Hastings, to recover from illness following the birth of her seventh child. She was introduced to beachcombing by her doctor and went on to amass an enormous collection of seaweed specimens, now held at St Andrews Botanic Garden, Scotland.  

A specimen of Nitophyllum gattyanum from the Margaret Gatty Herbarium. Collected in 1870 in Tasmania by an unknown collector.  
Reproduced with permission from the St Andrews Botanic Garden Trust.  

A specimen of Alaria esculenta from the Margaret Gatty Herbarium. Collected in Oban by William Henry Harvey.  
Reproduced with permission from the St Andrews Botanic Garden Trust.  

A Great Seaweed Day: Sea Belt (Dilsea carnosa)

Ingela Ihrman, 2019 
Courtesy of the artist 

A Great Seaweed Day (Laminaria digitata)

Ingela Ihrman, 2019 
Kiasma, Finnish National Gallery 

A Great Seaweed Day: Gut Weed (Ulva intestinalis)

Ingela Ihrman, 2019 
Courtesy of the artist 

Sop

“Trees understand crip time. My kin, I want to slow down to your rate. Human time is too fast for me. I choose you. My imprint is slight, but you have spoken to me and I receive your messages. I feel your age, your slow patience, the flexibility of your strength, from root through rings through fluttering leaves, renew, rot, renew.”

The Den 3, Sop

In March 2020 Sop was instructed to shield, as someone considered “clinically extremely vulnerable” to serious disease if they caught Covid-19. In ‘The Den’, a three-part meditative soundwork, they document the process of constructing a secret den and its role in their life as the pandemic unfolds. ‘The Den’ asserts the importance of urban nature and reclaims the “uncultivated, unattractive spaces in-between” as Sop describes them, which represent time and space as experienced by the chronically ill.  

In the third and final part of the work, restrictions have eased, and for many, life has gone back to normal. For Sop, however, their relationship with the woods continues to chime with their experience of illness. The den accepts them and their fluctuating capacity without judgement, and they find solace in the longevity of nature set against our relatively fleeting human lives.  

The Den 3

Sop, 2021 
Transcript (wall) and audio (bench) 
Duration: 18 mins 8 secs 
Commissioned and supported by Wellcome Collection and Unlimited, with funding from Arts Council England 

Watch the BLS video for 'Den 3' or read a transcription

To listen, use headphones on bench 

To watch BSL, scan your phone 

Portable Den

Sop, 2021 
Commissioned by Wellcome Collection 

This “portable den” provides Sop with access to the protective power of nature and the symbolic shelter of the den when the artist is unable to travel to the woods. Each leaf is covered in a drawn motif, which Sop describes as equipping them with a transformative power. The process of collecting and pressing leaves, drawing on them and assembling the portable den documents the passing of time. This “slow making” flexes to Sop’s fluctuating capacity. 

Turn your cloak for fairy folks live in old oaks

Sop, 2021 
Duration: 7 mins 26 secs 
Dancer: Michaela Gerussi 
Commissioned by Wellcome Collection

As time passes the den is no longer only used by Sop, but by others, including the bees that are burrowed in the ground within the den, and a robin that visits. The dancer in this newly commissioned film represents a body in relation to the structure of the den, which is a silent witness to the performance. The title comes from an Old English folk saying to charm against the actions of fairies. 

RESOLVE Collective

“As we forage through methodologies and theories that have sought to decode our relationship in the natural world, we interrogate what it means to be, or rather, who is wild. We question humans and nature as separate ontological entities and view them within the same appropriated ecosystem. What remains is a landscape bereft of certainty and overgrown with the possibility to re-learn, re-use and re-define our relationships not with, but in, nature.”

RESOLVE

RESOLVE is an interdisciplinary design collective that combines architecture, engineering, technology and art to address social challenges. ‘What The Wild Things Are’ is an artist-led research collaboration between RESOLVE, Wellcome Collection, West Dean College in West Sussex and De La Warr Pavilion in Bexhill-on-Sea. The project surveys the geographical and political ecological settings of each institution – the urban, the rural and the coastal. It forages in local and institutional spaces, finding and incorporating community engagement, archival research and experiments with materials, to challenge our separation of built and ‘natural’ environments.  

Here, RESOLVE presents ‘We Wunt Be Druv / Tings Nuh Run We’, which excavates wilderness in the city. At its core is an engagement programme that works with young people from Coram’s Field Youth Centre to propagate ideas of what it means to ‘re-wild’ their built environments, in response to their local experiences. 

We Wunt Be Druv / Tings Nuh Run We

RESOLVE Collective 
Commissioned by Wellcome Collection in partnership with De La Warr Pavilion, West Dean College of Arts and Conservation  

Excavated from the project’s various sites, ‘We Wunt Be Druv / Tings Nuh Run We’ brings together the vegetal world and the wreckage of our built environments. 

The foraged material has been shaped and selected by an engagement programme that encourages young people to challenge definitions of what is ‘wild’ in their local environments. Through a series of activities, from mudlarking to knapping, archaeological walks to horticultural workshops, young people from Coram’s Fields Youth Centre will interrogate their local areas to re-evaluate their position within ‘nature’. They also chose objects from their lives that offer a sense of wildness, some of which are shown here.  

The gabion landscape collapses the distinction between ‘human’ and ‘nature’, ‘design’ and ‘creation’, and invites visitors to interrogate these contradictions by sitting, standing, and interacting with this garden of “anthropic wilderness”. 

Traverse

Patricia Domínguez and Futuro Fósil, 2021 

Duration: 3 mins 
Courtesy of the artist 

Credits

Curator: Bárbara Rodríguez Muñoz 
Senior Curator: Emily Sargent 
Exhibition Project Manager: Amy Higgitt 
Creative Producer: Bryony Harris 
Project Assistant: Dominic Neergheen 
Registrars: David Chan, Rowan De Saulles 
Gallery Manager: Christian Kingham 
Audiovisual: Jeremy Bryans 
Exhibition Technician: Lucy Woodhouse 
Conservator: Kath Knowles 
3D Design: Andreas Lechthaler Architecture 
2D Design: Melanie Mues Design 
Lighting Design: Satu Streatfield with Jack Wates 
Construction: MER 
Graphic Production: Displayways 

This exhibition is a collaboration between Wellcome Collection and La Casa Encendida (Madrid)

We would like to thank all the artists, lenders, contributors and colleagues who have generously lent their works, expertise and ideas to the exhibition, and who have contributed to its planning and delivery.  

Special thanks to: Sarah Auld, Monica Gagliano, Cinthya Lana, Michael Marder, Angelica Muñoz, J C Niala, Cristina Nieto, David Roberts, Merlin Sheldrake, Rubbena Aurangzeb-Tariq and Kim Walker.