Further Reading (2025)
Further Reading (2025)

In “Dark Ecologies”, writer Timothy Morton describes our modern ecological awareness as a “Weird Weirdness” - asking us to embrace these new human x non-human relationships in the final phase of dark ecology where there is a dark sweetness. A thought mirrored across multiple contemporary voices asking us to reexamine and perhaps embrace our relationship with this “unnatural state”. 


Further Reading is a study of imagery created in a city-state attempting to embrace this unnatural state. Here in Singapore where greening and gardening are often curated with construction and urbanisation as a backdrop, new images of nature are both consciously and unconsciously added to the landscape. Further Reading requires us to look at nature’s secondary utility as it marries policy-making, research, and greening into imagery. Here, we question how it changes our perception of nature as we embrace this symbiotic relationship.

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Further Reading (2025)
MARV3748.jpg
MARV7770.jpg
MARV7794.jpg
MARV3751.jpg
MARV3753.jpg
MARV3770.jpg
MARV3745.jpg
MARV7873.jpg
Further Reading (2025)

In “Dark Ecologies”, writer Timothy Morton describes our modern ecological awareness as a “Weird Weirdness” - asking us to embrace these new human x non-human relationships in the final phase of dark ecology where there is a dark sweetness. A thought mirrored across multiple contemporary voices asking us to reexamine and perhaps embrace our relationship with this “unnatural state”. 


Further Reading is a study of imagery created in a city-state attempting to embrace this unnatural state. Here in Singapore where greening and gardening are often curated with construction and urbanisation as a backdrop, new images of nature are both consciously and unconsciously added to the landscape. Further Reading requires us to look at nature’s secondary utility as it marries policy-making, research, and greening into imagery. Here, we question how it changes our perception of nature as we embrace this symbiotic relationship.

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