I had spoken about intricacy (with Intricacy 1), the theory of the straight line and the serpentine line, which was notably used in the art of gardens. However, intrication in the plant world is not about these well-trimmed gardens with geometric shapes; it is about plants in nature that intermingle freely, that have the right to grow in all directions, the right to simply exist. Even extraterrestrials benefit from an anthropomorphic appearance in the collective imagination, unlike plants, although our perception of them has been evolving in recent years.

The plant organism, by its immobile, silent nature, and its life and body completely different from ours, has long been merely an object of exploitation, extermination, or commodification depending on the species, without much questioning. Humans have drastically changed the trajectory of many of these species, intentionally or not, by interacting with their habitats.

Here, I chose six plants found in the Lorraine region, including two endemic species (the Salicorne de Vic and the Iberis de viollet), one common, one exotic, and two invasive. It is worth noting that all these terms are human judgments on organisms that likely do not consider themselves exotic or common, either individually or among each other. That is why I modeled and fixed them on the same plane, the same surface. This relief surface then becomes a tool, a starting point for an action that involves transferring the relief drawing onto a sheet by rubbing a pencil over it. Each person is free to interact with the surface (or not) as they wish, creating a unique composition.

Here, it is neither the tool, the surface, the sheet, nor the pencil that constitutes the artwork, but the interaction with it, the participatory and collective gesture.

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