Feral Archives grew out of an ongoing body of research investigating the relationship between living matter, technology, and ritual. Initially conceived as a studio-based exploration of clay, biomaterials, decomposition, and slow fabrication, the project sought to understand how materials can hold both technological and biological memory.

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When I was invited to develop a site-specific work within Christl Mudrak’s Forest Research Platform Non-Violence in the Krämerwald, Havelland, I decided to take this funded research into the forest—to allow the environment, rather than the studio, to define the conditions of production.

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I worked with a WASP 3D clay printer, carrying it into the woods and living beside it for six days in a tent. The process became a form of techno-ritual practice—a daily negotiation between algorithm and soil, between the measured pulse of the machine and the slow metabolism of trees. Designed for precision and control, the printer instead behaved like a companion, participating in what I began to think of as a technospiritual ecology: a convergence of engineered logic and living systems.

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The project shifted from object-making to the observation of relationships—the fragile choreography between a mechanical organism and a living ecosystem. Each extrusion marked a negotiation between code and soil, between the engineered and the feral. Often collapsing, drying, or sinking back into the ground, the prints revealed an exchange rather than an outcome.​