The exhibition FOOLS PARADISE presents a poignant exploration of the ecological crisis, using the intimate and often overlooked relationship between humans and their houseplants as a focal point. This exhibition is not just a visual journey but a meditation on how our smallest interactions with the natural world reflect and contribute to larger environmental concerns. Domig’s approach is deeply personal, yet universally resonant, inviting viewers to reconsider the way they engage with the living beings that inhabit their everyday spaces.
At the heart of Domig’s work is the concept of growth—both literal and metaphorical. The act of tending to a houseplant mirrors broader ecological cycles: nourishment, decay, renewal, and symbiosis. His paintings capture the delicate balance between care and neglect, revealing the fragility of life and the consequences of human action or inaction. In this way, houseplants serve as a microcosm for the greater environmental crisis. They are symbols of domesticated nature, carefully curated within our living spaces, yet their survival depends on human attention and responsibility. This dependency reflects the broader reality of how human intervention shapes ecosystems on a global scale.
Through his use of “dirtied” colors, organic shapes, and layered textures, Domig evokes the tactile essence of soil, roots, and foliage. His brushstrokes are both deliberate and instinctual, mirroring the unpredictable yet purposeful patterns found in nature. The compositions often blur the boundaries between plant and human, suggesting a deep entanglement of identities. In some works, human forms seem to dissolve into roots, vines, and leaves, emphasizing the idea that we are not separate from nature but deeply embedded within it.
One of the most striking aspects of the paintings in FOOLS PARADISE is the exploration of mycelium networks as a metaphor for human communities. Mycelium, the underground fungal networks that connect and support plant life, function as an unseen yet essential force of interconnection. Domig draws a parallel between these intricate natural systems and human social structures, suggesting that just as mycelium fosters communication and nutrient exchange among trees, human communities thrive through cooperation, mutual aid, and shared resources. This perspective challenges the modern tendency to view nature as something external to ourselves, instead emphasizing a model of coexistence and interdependence.
Domig’s artistic practice is inherently multidisciplinary, and his collaboration with poet Lily Greenberg adds a rich textual dimension to the exhibition. Greenberg’s poems serve as both echoes and counterpoints to the visual works, offering poetic meditations on themes of growth, decay, and connection. The interplay between image and language invites viewers to engage with the exhibition on multiple sensory and intellectual levels. Poetry, much like painting, has the power to evoke emotions that transcend literal meaning, and Greenberg’s words deepen the contemplative atmosphere of FOOLS PARADISE.
The exhibition’s title itself—FOOLS PARADISE—is an ironic nod to the illusions of control and permanence that humans impose on nature. Houseplants, often perceived as ornamental and static, are in fact dynamic entities, responding to their environments in complex ways. The title questions the false sense of security that comes with domesticating nature. Are we truly nurturing these plants, or are we merely spectators in their silent struggle to adapt? This question extends beyond the personal and into the global, addressing how human actions have altered the environment in ways that are often invisible until crisis strikes. In engaging with this body of work, viewers are encouraged to reflect on their own relationships with nature. The exhibition does not prescribe solutions but rather fosters awareness and contemplation. It invites us to consider the ways in which our daily interactions with the natural world—watering a plant, walking through a park, consuming natural resources—are part of a larger ecological narrative.
Ultimately, FOOLS PARADISE is a meditation on the delicate threads that bind us to the natural world. Through Domig’s evocative paintings and Greenberg’s poetic contributions, the exhibition offers a space for reflection, urging viewers to reconsider their roles within the vast and intricate web of life. It is an invitation to move beyond passive appreciation and towards a more conscious and reciprocal relationship with nature—one that acknowledges both its beauty and its vulnerability.
