Amanda Piña (Santiago de Chile, 1978) explores forms of knowledge embedded in the body, gesture and collective movement. In To Bloom (2024), the artist presents a sculptural installation linked to a series of workshops and performances that takes ancient marine organisms and forms of interspecies existence as its starting point.

The work originated from a vision: during a stay in Yucatán, Piña dreamt that a hammock transformed into a living anemone that enveloped her within, bringing together childhood memories of the Chilean coast and an awareness of the rapid disappearance of marine species as a result of climate change. The sculpture intertwines hand-woven hammock threads and rattan canes, materials steeped in the history of colonial exchange. Their nets, constructed without knots, are held together by the tension and interplay between the threads, offering a more fluid and permeable way of inhabiting space. Through movement and shared experience, To Bloom presents the ocean not as a resource, but as a living archive of knowledge and collaboration between species. The work unfolds simultaneously as a sculpture and a performance amongst the trees of Ferrera Park, as well as in a video shown at the Camposagrado Palace.