In the series Moss, Olafur Eliasson reproduces in various photographs a sequence of the biological process of moss over the passing of time. This is not the first time that the artist has used moss in his creations, having covered a wall at Tate Modern with moss in 1994..
In his work Olafur Eliasson makes regular use of various biological materials, like moss, water, wood, damp or reflective materials in order to question our perceptions of the physical world of which we ourselves are part. Some of the artist’s primary concerns are climate change, research into the geometry of forms and the relationship between humans and other species.
In his essay Foams. Spheres Volume III: Plural Spherology, published in 2006, the philosopher Peter Sloterdijk said that Olafur Eliasson is the artist who offers the most lucid interpretation one can find in contemporary art of the concept of inversion of the environment. According to Sloterdijk, in Eliasson’s works one can appreciate a constructivist shift: “the natural environments shown by the artist are already surrounded surroundings through and through, that is, they are natural phenomena signified by science and technology.” As such, in Eliasson’s work we can see imitations, prosthesis, experiments, and so on related with nature and which, according to the philosopher, show us two things: firstly, the structure or effect of nature, and, secondly, the scientific-technological lens through which we interpret it.
Eliasson’s work is situated on the crossroads between art and science (Luis Germán Rodríguez and Felipe César Londoño, Ecología desde el arte digital) and addresses the ecology between these two disciplines.