"It ain't no honey babe" brings together translucent, backlit wall modules with insects semi-embedded in surfaces made of biodegradable plastic based on bovine gelatine. At a material level, the work condenses the intersection point between  a subproduct at industrial scale and the progressive erosion of biodiversity, fixing the point of capture where life remains held, immobilized, and exposed.

​

At the global level, agricultural expansion remains the main driver of deforestation: nearly 90% of forest loss is linked to agriculture, and livestock grazing alone accounts for almost 40% of the total. In the tropics, the expansion of pasture for beef production represents 41% of deforestation, equivalent to 2.1 million hectares per year.

​

"It ain't no honey, babe" shifts the notion of the color field from its abstract tradition toward a material and territorial condition. The surfaces, which recall the logic of color field painting and are are composed of bioplastics derived from the bovine industry, situate color as the result of processes of extraction and transformation. In this sense, the “field” is simultaneously a pictorial and a productive entity: a surface that condenses the conversion of ecosystems into territories of use. Abstraction appears traversed by its own materiality, revealing that what presents itself as pure color is sustained by an economy of loss. The work situates this animal-industrial origin as a charged residue, inseparable from the system it addresses.