There is something proto-scientific about the content of compost bins used to collect food waste in its transit towards treatment.
On a weekly basis this mini-environment empties and refreshes itself.
Conveniently set up at home, this unmonitored laboratory of suspended decay started progressively to look as a series of rolling aesthetic possibilities, composed by random accumulation.
The classical subject of nature morte, as arrangements of fruits and vegetables for the consumption of aesthetic pleasures and contemplation of nature, only partly applies to these aggregations of waste.
These layered landscapes are undead, tableaux composed of matter temporarily held in a beautiful coma, awaiting for its final journey towards redemption.