Original by Nature Art Installation

About Original by Nature Art Installation

Original by Nature is an art installation that turns discarded glass bottles into flowing sculptural forms. The bottles are reshaped by heat and molds through advanced upcycling methods. Each glass form holds a hydroponic system, so plants grow inside the installation. Sensor-controlled irrigation supplies water to every module, and violet ultraviolet lights at the back support plant growth. The main modular unit measures 5000 mm in width, 2000 mm in depth and 3500 mm in height. The work joins art, nature and technology to make sustainability visible.

Egemen Kemal Vurusan's Original by Nature Art Installation positions itself within contemporary explorations of ecological art and bio-art practices that emerged prominently in the late twentieth and early twenty-first centuries, wherein artists increasingly address environmental consciousness, living systems, and the intersection of natural processes with human intervention through immersive spatial environments and time-based organic elements, the work demonstrates sophisticated engagement with installation art traditions established by artists exploring transparency, suspended forms, and architectural intervention while introducing botanical vitality as both aesthetic element and conceptual anchor, the compositional achievement evidenced here resides in the successful integration of multiple material vocabularies and spatial logics within a unified experiential field, the three abstract expressionist panels serving as grounding vertical elements that provide gestural energy and chromatic intensity through their layered mark-making, these painted surfaces suggesting both microscopic organic structures viewed through scientific imaging and macroscopic cosmic phenomena observed through astronomical visualization, the warm magenta, orange, and violet passages within these panels establishing vibrant chromatic dialogue with the saturated turquoise environmental field, this complementary and near-complementary color relationship creating visual vibration and optical energy that sustains viewer engagement across extended contemplation, the transparent tubular network threaded through three-dimensional space demonstrates notable technical accomplishment in its construction and suspension, the serpentine pathways achieving graceful curvilinear flow while maintaining structural integrity and spatial clarity, these translucent conduits functioning simultaneously as literal connection systems linking the suspended terrarium globes and as metaphorical circulation networks evoking biological systems such as vascular networks, neural pathways, or mycelial fungal networks that enable communication and resource distribution across distributed nodes, the botanical specimens contained within the spherical vessels introduce living temporal dimension to the installation, these plants continuing their growth cycles and gradually transforming the work's appearance over days, weeks, and months, thereby positioning the installation as dynamic temporal process rather than static fixed object, this integration of living organic matter with constructed artistic framework invites consideration of symbiotic relationships between human creative intervention and autonomous natural processes, the work suggesting that art need not exist in opposition to nature but can provide supportive architecture enabling organic flourishing within gallery contexts typically hostile to living systems, the turquoise chromatic environment enveloping the entire assembly evokes multiple associative realms including underwater ocean depths where light filters through water columns creating characteristic blue-green coloration, atmospheric sky conditions particularly the saturated turquoise of tropical or desert skies, and perhaps cellular or biochemical environments visualized through false-color scientific imaging, this ambiguity of scale and context proving generative rather than confusing, allowing viewers to oscillate between reading the installation as miniature terrarium world, human-scale environmental chamber, or magnified view into microscopic biological architecture, the metallic violet cylindrical elements suspended in the upper register introduce additional formal punctuation and suggest technological components such as sensors, reservoirs, or monitoring devices that might be integrated into sophisticated hydroponic or aeroponic growing systems, these industrial-aesthetic elements reinforcing the work's position at the intersection of natural process and human technological capability, the overall spatial orchestration demonstrates careful attention to visual rhythm, distributing elements across the compositional volume to create varied density zones with concentrated activity around the central panel and more dispersed, open passages in peripheral areas, this distribution allowing the viewer's eye to move through the installation following multiple pathways without encountering compositional dead-ends or unresolved passages, the work invites contemplation of several resonant thematic territories including ecological interdependence and the recognition that all living systems exist within networks of mutual support and resource exchange, the relationship between micro and macro scales with small enclosed ecosystems potentially modeling larger planetary environmental dynamics, the role of human intervention in creating conditions for natural flourishing rather than exploiting or dominating organic processes, and the aesthetic possibilities emerging from collaboration between artistic intention and autonomous natural growth, viewers encountering this installation might consider how the transparent vessels containing living plants mirror the larger enclosed environment of gallery or museum space, which itself functions as carefully controlled artificial environment maintaining specific temperature, humidity, and lighting conditions to preserve artworks and provide comfortable human occupancy, they might also reflect on how the tubular network connecting discrete elements suggests both circulatory systems within individual organisms and communication networks connecting individuals within larger social or ecological communities, and they might contemplate the temporal dimension introduced by including living organisms whose appearance gradually transforms, questioning whether the work's identity resides in its initial installation configuration or in its ongoing process of change and adaptation across time, how does this integration of living botanical elements with constructed architectural framework alter our understanding of what constitutes an artwork, and what responsibilities might such hybrid art-nature creations place upon institutions and audiences who encounter them?