Philosophical Inspiration
The ideas behind Life Finds a Way are deeply rooted in contemporary ecological philosophy. This section explores the three major theories that shaped the project, offering insight into how human consumption, technology, and nature’s resilience intertwine in unexpected ways.
Timothy Morton: The Intertwined Worlds of Nature and Technology
At the heart of this project is Timothy Morton’s concept of “dark ecology,” which dismantles the binary distinction between humanity and nature. Morton argues that these two realms are not separate but deeply entangled, existing in a complex web of interdependence. In Life Finds a Way, this idea takes form in the imagery of nature reclaiming human-made objects - moss infiltrating the circuitry of a smartphone, or fungi sprouting from the cracks of an old VHS tape. These photographs are not simply about nature winning over technology but about the interconnectedness of the two, highlighting their inseparable coexistence.
Morton’s philosophy invites us to see beyond the idea of a pristine, untouched nature and instead embrace the messy, entangled realities of ecological systems. The decayed technologies in Life Finds a Way embody this entanglement, presenting a world where progress and decay, human ingenuity and organic life, coexist in surprising and unsettling ways.
Naomi Klein: A Critique of Consumerism
Naomi Klein’s critique of capitalist systems provides another crucial lens for this project. In her exploration of “sacrifice zones,” Klein examines the environmental destruction caused by unchecked industrial growth and the relentless pursuit of profit. While these zones are often vast, visible areas of environmental degradation, Life Finds a Way suggests that the technological objects we casually discard are their own kind of sacrifice zones - piled in landfills, polluting ecosystems, and contributing to the long-term crisis of e-waste.
The objects in this project - Apple Watches, Kindles, Polaroid cameras - were once symbols of human innovation, coveted and celebrated for their cutting-edge design. Now, overtaken by moss and fungi, they stand as relics of a culture that prioritizes newness and obsolescence over sustainability. Klein’s ideas resonate deeply here, framing these photographs as a critique of consumer culture and its environmental costs.
Rob Nixon: The Invisible Consequences
Rob Nixon’s concept of “slow violence” further deepens the narrative of Life Finds a Way. Slow violence refers to environmental harm that occurs gradually and often invisibly, escaping the immediate awareness of those who benefit from the systems causing it. In this project, the slow encroachment of moss and fungi over forgotten technologies serves as a visual metaphor for this invisible harm, reminding viewers that environmental degradation doesn’t always happen through dramatic events but through slow, incremental processes.
Each photograph in Life Finds a Way captures a moment of quiet reclamation, where nature’s steady persistence overtakes the remnants of technological progress. The project encourages viewers to think about the unseen and long-term consequences of their consumption habits, making Nixon’s theory of slow violence palpable through the language of decay and renewal.
Life Finds A Way: An Invitation To Reflect
These philosophical inspirations transform Life Finds a Way into more than just a photographic exploration of decay. They situate the project within a broader conversation about humanity’s role in the environment, urging viewers to reflect on their own place within the intricate web of ecological relationships. Whether through Morton’s entanglement, Klein’s critique of capitalism, or Nixon’s slow violence, Life Finds a Way challenges us to rethink our consumption habits, our relationship with progress, and the resilience of the natural world.
By weaving these ideas into the visual narrative, Life Finds a Way offers a poignant and reflective commentary on the costs of human innovation and the quiet strength of nature. It is an invitation not just to observe, but to engage - with the images, the ideas, and the questions they pose about our shared future.