In the work, "What comes from the Earth Must Go Back; Doradongo" (2022), I explore a ritualistic dining gesture encapsulating a profound commitment to ecological principles. This piece aims to highlight the cyclic interconnectedness between artistic creation and the natural environment, embodying a conscientious approach to sustainability.

The focal point of this project is the creation of Dorodongo balls, each meticulously crafted with a specific life cycle in mind. These spheres are intended to return to the Earth, precisely to the location from which I borrowed the soil, accentuating the sensory experience of nature and the inevitable process of decomposition within it.

“ For the soil to remain fertile, we must return to it everything that has been taken from it.” (MINAMI, Soil and humanity: Culture, civilization, livelihood and health, 2009)

The soil chromatographic printed 'table cloth,' resembling dinner plates, serves as a symbolic representation of a domestic meeting place—a confined zone fostering communication. By drawing a visual parallel between human dwellings and the dwellings of the soil, the piece reinforces the scientific premise that just as the soil facilitates the production of the food and nutrients we consume, so too do the microbial inhabitants of the soil partake in their own nourishment at the metaphorical dining table of the Earth.

This compositional strategy becomes a sensory experience, inviting the audience to 'consume' the knowledge embedded in the place settings. The soil chromatography tablecloth serves as a scientific foundation for understanding soil health, symbolizing the interconnectedness of humanity and the environment.

The selection of soil from local landscapes, chosen for their significant beauty, not only contributes to the creation of the spherical balls but also informs the soil chromatography readings. These readings visually illustrate the lack of biodiversity within the soil, emphasizing the delicate balance required for ecological harmony.