In my thesis, Seedgraphy – Seeds as a Decolonial Revealer, I explore the intersection of bio-art, agricultural biodiversity, and decolonial practice through the anthotype photographic technique. Rooted in Bolivia, one of the world’s most biodiverse yet endangered regions, the project reimagines photography as a political, ecological, and ethical act. Anthotype uses plant-based pigments that react to sunlight, producing images that are biodegradable, slow, and impermanent, thereby resisting the extractive logics historically embedded in both photography and colonial exploitation.

At the core of my research are seeds, understood as living carriers of genetic memory, cultural identity, and biodiversity. These seeds are increasingly threatened by deforestation, industrial agriculture, and resource extraction. Through anthotype, I translate data on biodiversity loss into a walkable, immersive installation, making visible processes that often remain abstract or invisible. Material choices, such as organic cotton instead of paper and locally and ethically sourced pigments, anchor the work in ecological responsibility.

My methodology privileges Indigenous epistemologies, careful language use, and decolonial frameworks. Inspired by the Circle of Dialogue of Wisdom, the installation adopts a circular and participatory spatial design in which plants become storytellers. Collaboration is central to the project: through an Art & Science Fellowship with the EcoLAWgy research group (University of Liège), Seedgraphy connects artistic practice with legal debates on seed sovereignty, biopiracy, and access and benefit-sharing.

By weaving together art, ecology, and law, my thesis demonstrates how creative practice can translate complex sustainability issues into accessible, multisensory experiences, while contributing to broader discussions on biodiversity, justice, and knowledge production.

With my thesis, I contribute to sustainability by addressing biodiversity loss, decolonial justice, and ecological responsibility through artistic research. Seedgraphy reframes seeds as political and cultural agents, exposing how industrial agriculture, biogenetic capitalism, and colonial power structures threaten both ecosystems and Indigenous knowledge systems.

Ecologically, my work promotes sustainable material practices through biodegradable processes, renewable resources, and non-extractive artistic production. Socially and culturally, it centers Indigenous epistemologies, challenges colonial narratives, and advocates for plurality, reciprocity, and environmental justice. Politically, the project translates complex legal and economic debates on seed sovereignty and governance into accessible visual languages that can inform public dialogue and policy discussions.

Because Seedgraphy operates at the intersection of art, science, and law, it offers a transferable and interdisciplinary model for engaging sustainability challenges beyond academia. By transforming abstract data into embodied experience, my thesis fosters awareness, dialogue, and imagination, contributing to more just, inclusive, and resilient futures aligned with the criteria of the Future Proef Award.