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Left: "Mother Nature", Right: "Earth Exploitation"
Left: "Mother Nature", Right: "Earth Exploitation"
Leonardo Passeri
Earth Exploitation, 2019
original
acrylic and enamel on panel
acrylic and enamel on panel
200 x 130 x 3.5 cm
78 ¾ x 51 ¼ x 1 ½ in
78 ¾ x 51 ¼ x 1 ½ in
Series: Urbenica (Panel #7)
Copyright © Leonardo Passeri
Further images
A original and striking 200cm tall artwork. Earth Exploitation is the final panel, in the seven panel, 9.1 meters long composition titled "Urbenica", depicting scenes that trace the evolution of a constructed civilisation, from its symbolic origin to its eventual domination over life, revealing how power, system, and control progressively replace nature, balance and memory.
A original and striking 200cm tall artwork. Earth Exploitation is the final panel, in the seven panel, 9.1 meters long composition titled "Urbenica", depicting scenes that trace the evolution of a constructed civilisation, from its symbolic origin to its eventual domination over life, revealing how power, system, and control progressively replace nature, balance and memory.
Earth Exploitation concludes the first cycle with a vision of decline and transformation.
At the centre, the figure of Mother Nature reappears, no longer as a generative force, but as a deteriorated relic. She remains central, but her role has shifted—from origin to memory. Around her, new structures emerge, representing the transfer of power from natural systems to artificial ones.
A dominant mechanical figure holds at its core the spherical symbol of the Earth—once a sign of origin, now appropriated and controlled. The shift is decisive: life is no longer governed by nature, but by constructed systems.
A drilling structure extends toward a figure intertwined with circuit-like patterns, suggesting the transformation of life into data, energy, and resource. Extraction becomes total—material, biological, and existential.
Earth Exploitation closes the "Urbenica" cycle with a critical condition: when nature becomes object and memory is replaced by control, power no longer sustains life—it consumes it.
Earth Exploitation concludes the first cycle with a vision of decline and transformation.
At the centre, the figure of Mother Nature reappears, no longer as a generative force, but as a deteriorated relic. She remains central, but her role has shifted—from origin to memory. Around her, new structures emerge, representing the transfer of power from natural systems to artificial ones.
A dominant mechanical figure holds at its core the spherical symbol of the Earth—once a sign of origin, now appropriated and controlled. The shift is decisive: life is no longer governed by nature, but by constructed systems.
A drilling structure extends toward a figure intertwined with circuit-like patterns, suggesting the transformation of life into data, energy, and resource. Extraction becomes total—material, biological, and existential.
Earth Exploitation closes the "Urbenica" cycle with a critical condition: when nature becomes object and memory is replaced by control, power no longer sustains life—it consumes it.
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8, King Street