Photosynthesia examines geometry not as a framework imposed on nature, but as nature’s own language. Its structures recall a lost archive from an unknown time; early cosmological diagrams, when number and proportion were believed to bridge the human and the divine. The work reframes geometry as memory, a silent architecture carried within living forms. Here, nature is both constructed and constructing, oscillating between a system of human mapping and an emergent property of living processes.

The series inhabits the interval where taxonomic impulse meets organic indeterminacy. In this sense, the images approach what Gilles Deleuze described as the diagram: not a static representation, but a generative field in which forces, forms, and meanings continuously emerge.