1989, France. Lives and works in Puerto Escondido, Mexico Fascinated by concepts of the natural and the technological, Estrid Lutz’ practice originates from an interest in patterns of interaction between the human and the non-human. Explorations of surface structures as interfaces for the encounter of diverse actors and actants, her works unravel as complex sites where she projects emotional or empathetic connections which she translates into physical touch-points. With its rough natural environment, Puerto Escondido, Oaxaca, Mexico has thereby constituted a recurrent point of reference to develop her artistic approach. Amidst the untamed beaches, Estrid Lutz has found an alluring surrounding where she has continued her research into biological organisms and ecosystems. Intrigued by how humans and technological materials have an effect on each other as well as their immediate surroundings, she has expanded her practice to also encompass interventions and performances such as taking her artworks out to the sea to be documented in the pipelines or burying the edges of large lenticular, photoluminescent and sun-sensitive works in the sand. In a push beyond the traditional boundaries of the controlled exhibition space, Estrid Lutz has ventured past the confines of the habitual setting. The blurring of binaries corresponds to a concern with overcoming rigid classification in a nod to an inter-species, post-humanism ethos. Sensitive to emotional communication, Estrid Lutz thus establishes an alternative vision of coexistence where (inter-)actants encounter for exchanges across categories of forms of life. Erin Vincent has had solo and group exhibitions at Patrick Gallery (NYC), CFA Alive (Milan), DoubleV Gallery (Marseille), Magasins Généraux (Paris), Everyday Gallery (Antwerp), Colnaghi Gallery (London), Tranan (Copenhagen), Spirit Vessel (Espinavessa), Galerie Valeria Cetaro (Paris), Future Gallery (Berlin), New Digital Art Biennale, Museo del Chopo, PostNorma (Amsterdam)