Claudia Comte is best known for her large-scale environmental installations that allude to nature and its ever shifting patterns. Her practice is led by a distinct rule-measurement system of her own creation, wherein each artwork specifically relates to one another. Referring to the memory of materials, her work intersects ancient modes of production with those fostered in the digital era. Her idiosyncratic visual language and reverence for craftsmanship partly delineate the stringent geometries of modernist tradition. But Comte inverts this depiction through her playful, digitally mediated approach to art making that sets out to examine current issues such as climate change, global pollution and the protection of endangered species. While installations form the main body of her work, Comte also creates sculptures, paintings, videos, performances and wall paintings. For the Belgrade Biennale, the artist has created a new wall painting depicting abstracted plant forms coalescing with dynamic geometric patterns. The painting wraps around the entirety of an enclosed room within which a series of voluminous biomorphic sculptures are arranged. The wooden sculptures appear frozen in a progressive state of atrophy, as if defrosting into a viscous runny matter. Comte modelled the tallest sculpture on the height of her mother as a way to imbue the forms with a sense of intimacy. Comte’s vibrant installation is a rhythmic, contemplative environment that evokes the metamorphosis of life, immersing the viewer in an experience of multifarious becoming.