As a behavioral model, the artist’s appreciation and devotion to the natural element is made visible through the patient act of stripping and smoothing wooden branches by hand, preserving the natural beauty of textures, knots, and colors. Born from a fascination with the fragility of the delicate balance we are part of, these momentary installations reveal a contemplation of a world in constant flux. Since bare life cannot be domesticated, the harmonizing patterns evoke a degree of disorder that triggers chaotic reactions—much like entropy. From miniature to large-scale, each installation complements the others to form a whole, just as every microorganism acts as part of an ecosystem. More than that, the continual reconfiguration of the installations during the exhibition reflects the way the world is perpetually reformulated, mirroring the dynamic and ever-evolving nature of our surroundings.

Following a predetermined gradient, the installation aims to recreate the feeling of an ongoing process and transformation from which we cannot detach ourselves. Thus, the sublime that inspires Chihaia’s artistic endeavor is not one that can be experienced solely in natural or artistic contexts, but one that can be felt as part of our everyday lives in the age of the Anthropocene.

Each exhibition is a forest, but beyond all the “signs and signifiers” revealed or acquired, this temporary landscape suggests an abstract imitation of the sensations that overwhelm us in the contemporary world. Attempting to reconstruct the pleasurable and dangerous conditions of an environment that can elicit sublime feelings, The Sublime of the Feedback Loop proposes a careful exploration of how we move through space—and how difficult it can be to recover our traces.