A new Medium
Reimagining Nature Through the Lens of Consumption and Rebirth
My wooden collages explore the delicate balance between science, spirituality, and nature, with a critical focus on humanity’s consumption and industrial impact. By repurposing processed wood—once discarded through mass consumption—I bridge the divide between human-made materials and the organic world, transforming remnants into symbols of nature and trees.
My background in neuroscience and biophysics informs my understanding of energy flow, both in the human body and the natural world. These collages reflect this interconnected energy, while also challenging the industrial cycle that reduces nature to resources for exploitation. The geometric patterns I use echo nature’s sacred geometry, reflecting both the beauty and the imbalance created by human actions.
Through this process, I aim to critique our consumption-driven society and its effects on the environment, urging a reconsideration of how energy flows through the materials we create. This work is not just a visual expression, but a call to engage with the ecological consequences of industry and consumption, inviting viewers to reflect on how we might restore the harmony between humanity and nature.
Sulphur Crested Cockatoo - 2024, 80 x 80 x 7 cm
Screaming Corellas - 2023, 90 x 60 x 7 cm
Galah Family - 2023, 90 x 60 x 7 cm
A New Medium
My Material - A New Medium
First, I studied fractal structures in ink drawings from 2013 to 2014. During the pandemic, I was in Melbourne, subject to some of the harshest lockdown restrictions. After two years of being locked inside a tiny apartment, I craved nature and started accumulating more and more plants inside the house. The situation resulted in often ordering takeout, leaving me with an abundance of wooden cutlery, which I felt ashamed to waste. I started playing with this material and spent hours examining the details of my plants. Suddenly, the wooden cutlery became my building blocks for a new organic world. The composition of material placement became the focus of my work and dominated perception, not the material itself. Over the last 3 years, the local Australian flora and fauna have become my main inspiration. Using industrially processed wood, I bring these manufactured building blocks—my 'molecules'—back to life.
Birds - 2023, Corella: 40 x 30 cm; Coffee Sticks: 26 x 17 cm; Owl 3: 40 x 30 cm, Finch lovers (SOLD): 2 canvases, 32 x 23 and 30 x 25 cm
Hakea Plant - 2022, 40 x 40/ 30 x30/ 20 x 20 cm
Banksia and Dragonflies - 2022, 40 x 30 cm
Melody of the Fallen Forest - 2023, three canvases with 40 x 30 cm
Create patterns by reusing industrially processed wooden items that are of consistent size and shape.
Work sustainable, recycle materials, including canvases from op shops, hard rubbish, and food delivery. I reuse my own material waste in my artwork.
Modify as little as is necessary to imitate organic structures, e.g., add a curve to the popsicle stick.
Some ‘molecules’ need to be strictly identical (e.g. most flower petals), while others need a certain level of variation and randomisation (e.g., larger leaves).
For the composition to imitate an object, the molecules follow several rulesets. This can be e.g. the angle and orientation of molecules towards each other or the horizontal/ vertical axes.
Artistic Approach
Lorikeet - 2022, 76 x 61 x 8 cm
Major Mitchell's Cockatoo, 2024, 80 x 80 x 7 cm
Owl 2 - 2022, 76 x 61 x 8 cm
The Resilient Bloom: Breast as a Symbol of Strength and Power -or- Flower of Knife - 2024, 108 x 105 x 12 cm
Burnt Eden: Tracing the Fractured Connection Between Nature and Consumption - 2021, 44 x 59 x 9 cm
Australian Gum Trees, Lost and Repurposed
Corymbia Tree 1 - 2022, 40 x 30 cm
Corymbia Tree 2 - 2022, 40 x 30 cm
Wattle Brush - 2022, 40 x 30 cm
Banksia - 2022, 40 x 30 cm
Four Stages of Creation
The laws of nature: Play with the material to try out different elements and document it; e.g., certain alignments of pegs can imitate banksia plants.
The molecules: All molecules that require modification are cut and shaped with a rotary tool. Colour can be applied through paint or baking in the oven.
The evolution: Before a composition is fixed, I lay down the material on the canvas to try out different variations. Objects and whole compositions across the entire canvas are created and destroyed again and again until the intended impression is reached. This process is documented.
The birth: Fixation of the molecules on the painted canvas.
The Feast of Consumption: A Forest’s Reclamation - 2023, 57 x 140 cm
Price and purchase inquiries
My sell my wooden collages only via personal enquiry to NasimDokaniArt@gmail.com