Biological Exposure places objects of human geometry into direct contact with the biological process and observes the negotiation.

Metal coins — currency, one of the most precisely geometric objects human systems produce, stamped with the authority of states and economies — are placed against color negative film and buried in soil. The coins function simultaneously as masks and as catalysts: blocking the biological process where they sit while their metal chemistry reacts with the emulsion. What returns from the earth preserves the coin’s geometry as luminous form — golden orbs, circular, exact — while the surrounding surface is consumed, transformed, and reorganised according to biological logic.

The Moon Landing series names what the process produces. Buried pennies return from the earth as celestial bodies. The geometry of the mint becomes the geometry of the cosmos. Currency becomes planet. The transformation is not metaphor — it is what actually happens when a precisely manufactured circle is submitted to three hundred hours of microbial process and retrieved.

The connection to Max Ernst’s frottage is real: both methods surrender artistic control to what the material does rather than what the hand directs. But where Ernst’s automatism revealed the forms hidden in existing surfaces, Biological Exposure generates new surfaces entirely — ones that could not exist without the collaboration between human object and biological time.

These works are the practice’s meditation on human value systems submitted to biological process. The coin does not escape entropy by being stamped with a state’s authority. It becomes, underground, something the state never intended and cannot reclaim.