Weaving black nests under the skin is a philosophical exploration of inter-beings, arthropod-like organisms, and their embryonic fluctuations. Blending scientific inquiry and hybridisation, Becerra’s research investigates intermediate states of existence: between gestation and decay. This work questions the illusion of separateness, embracing cyclicality as a fundamental condition of life. Within nature, this conceptual coordinate exists both in the gestational form of organisms and, on the other end of the spectrum, in the rotting stages of biological matter. The installation unfolds as a suspended network of prosthetic beings composed of blown glass, steel, organic debris, silicone membranes, motors, threads, resin, and pigmented fluids. Arthropoidal and vessel-like morphologies emerge from these organic architectures: skeletal extensions intertwined with soft membranes and threadlike circuits carrying fluid through translucent bodies. Encapsulated fragments of matter -trapped within resin or suspended in liquid- echo the notion of life within life, where remnants of existence persist and regenerate through new material configurations. These hybrid entities pulsate and circulate matter, embodying both decay and renewal. Their porous anatomies evoke a choreography of transformation, where the boundaries between organism and machine, matter and memory, begin to dissolve. Through this project, Becerra reflects on the cyclical conditions of existence, proposing that gestation and decomposition are not antagonistic opposites but complementary forces within the same continuum. Emerging from these reflections, suspended prosthetic beings blur the borders between biological inevitability and speculative potential. By imagining new kin makings with the oddkin, Becerra seeks to inspire, at least for a while, alternative worldviews in which linear narratives of life, progress, and death yield to hybrid, cyclical forms of existence. Weaving black nests under the skin invites viewers to consider life as a process of perpetual co-participation, where matter endlessly weaves itself into new forms of being.

Xenobotany imagines a form of botany for unfamiliar futures, one that studies organisms not yet named, bodies that grow across porous boundaries between species, technologies, and environments. The installation proposes a cabinet of living anomalies where soft anatomies coexist with prosthetic structures, and where matter appears to be perpetually in the process of becoming something else.

Xenobotany imagines a form of botany for unfamiliar futures, one that studies organisms not yet named, bodies that grow across porous boundaries between species, technologies, and environments. The installation proposes a cabinet of living anomalies where soft anatomies coexist with prosthetic structures, and where matter appears to be perpetually in the process of becoming something else.

Ex0phycology works as an uncategorized archive of creatures aiming to tense the boundaries between the human, non-human, technology, sexuality, organic and synthetic matter to create new possible connections and meanings that can help to imagine morphologies of the future. Through its multidimensional structure, this hybrid archive will structure information in an unusual way, providing a different framework for understanding the interplay between past, present, and future.

COAGVLA draws from the alchemical principle solve et coagula (dissolve and recombine) as a gesture of transformation. Matter is broken down, fragmented, and suspended, only to be reassembled into a new, hybrid state. Echoing both alchemical transmutation and Jungian psychic integration, the work explores what emerges when dissolution becomes a necessary passage toward reconfiguration.