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This paper is based on my Master Thesis and explores how art and science practices can enable sustainable productions through reworking relations between representations and their material instantiations. Central to this study are objects centred around pigments, chromatic substances transducing and translating between materiality and meaning. These objects are serigraphic prints depicting the molecular formulas of synthetic pigments as well as micro- graphs rendered precisely by those same pigments. Here, the materialities used to present pigment mole- cules are the self-same materials being represented. By examining these artworks, the thesis explores how materials can simultaneously embody and articulate scientific and artistic principles, challenging separa- tions between materiality and representation. Theoretical insights are drawn from Karen Barad’s concept of agential realism, which asserts a performative approach to representations. To account for this performative concept, the material composi- tions of the serigraphic prints were engineered to be compostable. To achieve a high degree of reproducibility and accessibility, an emphasis was placed on describing the production process.
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