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When we examine bio-based pigments—derived from specific plants, minerals, and organisms unique to particular ecosystems—we encounter embodied technological practices that inherently resist universalization. Each pigment functions as a boundary object, simultaneously natural phenomenon and cultural artifact, carrying the material signature of its ecological origin: soil composition, climate conditions, and the cultural knowledge systems that nurtured it. Their creation and application represent technological engagement that functions in harmony with local ecosystems rather than transcending or dominating them, revealing alternative technological trajectories that embrace rather than erase locality.
Henrietta Scholtz is an interdisciplinary artist interested in the human condition, metanarratives, new technologies and the study and development of cultures ancient to modern. Currently she engages with the practicalities, representations and philosophies of tools and tool making. Her work uses both the practice/process of bio-based pigment making as a metaphor of our collaborative relationship with nature, ourselves and the emotional and reflective reality of creation through the tools we make and use and the language they generate. Henrietta is particularly interested in how these intersections influence society's psychological development and evolution, especially in the context of post-humanist perspectives and in context to representation, physicality and thought as and in bio realities and technology. She also works as an independent curator and as assistant curator at the South African National Broadcasting’s Corporation's corporate collection and holds two degrees in humanities. Henrietta is based in Johannesburg, South Africa.
Academic Advisor: Dalila Honorato
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International Conference DCAC
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Ionian Islands Region, Greece
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