Chronicles From In-Between is a research-driven artwork exploring the paradox of digital technologies capable of rendering nature in extraordinary detail while relying on extractive infrastructures that damage it. The project connects sculpture, pigment production and painting, and immersive digital environments through a single material and colour: verdigris, the green patina formed when copper oxidises.
Discarded copper components from processors and graphics cards are assembled into sculptural forms and deliberately corroded using a bespoke technique. From the resulting verdigris, pigment is harvested and processed into watercolor paint used to depict extinct and endangered plants from regions shaped by copper mining and industrial extraction linked to the CGI industry. Through this process, technological residue becomes a material archive of ecological loss.
The project extends into the digital realm through high-resolution 3D renderings and animated environments. Botanical compositions of these plants form elaborate bouquets inspired by Renaissance still-life paintings, reimagined as animated 3D scenes. These “digital still lifes” translate historical traditions of botanical representation into contemporary computational imagery, questioning how nature is aestheticized and reproduced through technology.
Fragments of ecological memory from elderly witnesses of disappearing landscapes appear as narrative traces, addressing “landscape amnesia”—the gradual loss of collective memory about past ecosystems.
By using the same computational tools entangled in environmental extraction, Chronicles From In-Between reflects on the ecological costs of image production and immersive media. Through verdigris—as material, pigment, and colour—the project connects matter, memory, and machine vision, asking how technology reshapes our perception of nature while quietly erasing the conditions that sustain it.

Main artist: Kasia Molga,
Assistance: Henry Maddicott
UK producer: Em B-W

With support from: Initial support and commission V2_Lab for Unstable Media, Rotterdam, NL; Support in RO: Margina.ro and curators Claudia Schnugg and Andrei Tudose; Support in UK: Arts Council England; Research support in KSU: Diriyah Art Futures and King Saud University's Botany Department

Kasia Molga (GB) is an artist examining connections between the human, technology, and the living world. Growing up on the high seas and working as a diver, the ocean is central to her practice—extending into broader questions of ecological memory and environmental transformation. Working across installation, performance, sculpture, and biomaterial production, she brings physical materials into dialogue with computational tools, creating narratives between matter, memory, and machine vision. She has exhibited at Centre Pompidou, Tate Modern, V&A, and Ars Electronica, and is founder of Studio Molga Ltd.

Kasia Molga pursues a single color, verdigris, across an artwork's entire production chain. Discarded copper components from processors and graphics cards are reassembled into sculptural forms and deliberately corroded; the resulting patina is harvested as pigment and ground into watercolor, then used to paint extinct and endangered plants from the regions where the original copper was mined. The same plants reappear in 3D as animated still-life bouquets that are reminiscent of Renaissance botanical painting, rendered with the same tools whose supply chain the project documents. Verdigris ties the green of a Dutch flower piece to the green of an oxidizing motherboard, and the wavelengths 495–570 nm to the territories that pay for our screens. Molga stays inside the contradiction without celebrating or condemning the tools she uses.