Taxidermy of the Forbidden, also known as Artificial Biology, is a game, an operation, and a ceremony that I never cease to learn from. I call these universes “games”: worlds into which I immerse myself as part of an experiment with its own conditions and variables, designed to observe their effects. This process demands a deep and structured commitment, much like taking part in a ceremony.

Taxidermy is defined as the art of preserving animals by preparing and mounting their bodies to maintain the appearance of life over time, for the purposes of exhibition, study, and conservation. Within this universe, it involves creating combinations and forms of corporeality that, beyond the boundaries of this game and in biological and logical terms, are forbidden, rebellious, absurd, or insolent. Here, plant, animal, human, and object-like features intertwine.

Taxidermy of the Forbidden raises more questions than it answers. It is a provocation to the unconscious, to our projections through the fusion of these physiognomies, which unfold between the living and the dead, the known and the unknown, and that which attracts us and that which repels us.