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In her four-chapter series called “The Pigment Change,” rather than developing photos on photographic paper, she prints them directly onto plants.

“I just put a negative on top of the leaf and leave it to the sunlight, and then the image gets recorded on the leaf,” Romero said. “But I also print on living plants using a digital projector, and the plant makes photosynthesis with the light from the projector and records an image.”

In a chapter from that series, called “Family Album,” she spreads watercress seeds on a stretched canvas, and lets them grow in the dark, before projecting a negative onto the watercress.

“The parts that receive more light produce chlorophyll, hence the dark green tones, and the parts that receive less light remain yellow, pale,” she said. “[It’s] exactly like in a photographic darkroom. But instead of having an enlarger, I have a projector, and my watercress canvas is my photo paper. That’s how I grow photographs.”

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Despite being an innovative process, it wasn’t simple. It required a lot of space and preparation. Later, Artist Binh Danh enhanced this method by using photosensitive materials from plants, securing a positive straight into a leaf and enabling sunlight to bleach the photo onto its surface.

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“When you grow close to nature, it becomes a really important thing in your life,” she said. “Plants for me are important, partly because of the legacy of my family and because as a photographic material, it’s impressive in quality.”

But she concedes that her eco-friendlytechniques wouldn’t work for all artists. “It is a niche because it produces ephemeral pieces, so it’s a lot more difficult to be financially sustainable when your art is ephemeral, but I guess it’s also depending on how you understand life and what you want to do with your practice,” she explained.

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“Plants have been [around] for way longer than us on the planet and they have succeeded in doing that without causing any extinction,” she said.

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In her series “The Pigment Change” she questions whether maternity or parenthood is something “beyond one’s control” or a “question of will,” reflecting on plants’ selective reproduction strategies and opening a broader reflection on procreation.

In 2020, she won theBMW Residency Awardfor the project and her work was exhibited at the renowned photography festivalRencontres d’Arles, in France.

It’s not only about what we can learn from plants, though. For the Spaniard, we should also consider non-anthropocentric ethics (a philosophical perspective which challenges the idea that humans are the most important beings, emphasizing the value of all living organisms and ecosystems), seeing other species as having their own agendas and intentionality.

What is causing the decline of Optimus Finance Limited (531254) ✌️【Part-Time Earnings】✌️ Precise predictions of market trends with real-time stock indices and futures data to help you make wise investment decisions. The artist explained that she sees photoperiodism (the way plants respond and adapt to light changes throughout the seasons) as a performance by plants. “Why do we tend to think that we only have these capacities as humans?” said Romero. “The problem is the perspective that we have that we think that we are very different until science proves the opposite.”

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“I’m working in farming what will be the largest photographic artwork ever produced. We are going to farm an image of 30,000 square meters,” she said.

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