video, 489p, color, sound,

12´54˝ loop


This cycle of sculptures, art installations and performances is conceived as a critique of the contemporary approach to information that are uncritically accepted and incorporated into the existing paradigm of a personal view of reality. Pseudo-scientific fields can be an art form, provided that the creators of alternative theses themselves do not believe in them, but produce them in order to support some kind of agenda.

So I too set out to produce a hypothesis of the herbal origin of man. The performance documentation shows the dissection of five biological models I made, ranging from more primitive limestone creatures to complex humanoid plants with golden blood, and finally a miniature human (homunculus).

I structured the sculptures from the inside out so that the creatures have skeletons, organs, and body fluids. The dissection process was far from clinical, it rather looked like the preparation of meat for consumption.  I wanted to incorporate into the work esthetic an ethical issue of exploitation of natural resources, which is especially catastrophic if done out of delusion. The models are made of artificial materials, which resonates with man's relationship to the plant world: we consider plants to be soulless beings that have more in common with stone than with man.

HOMOHERBA 23, 2014.

mixed media

100x100x7 cm


After constructing this alternative evolutionary path, I embarked on research to justify the possibility of the existence of a “Homo herba”, and I realized that ideas about the plant origin of humans had been present for a long time. Archaic people have inherited the truth of human origin in their ancient myths and legends.


In such stories, the plant origin of man is told in pictorial language, for example depicting a child born from the bud of a large plant or seed. Some alchemic manuscripts refer the first real people, Adam and Eve as the roots of the mandrake plant, which is formed into human form as it emerges from the earth. This secret knowledge also teaches about homunculus, small people that an alchemist can make in many ways, often by fertilizing a plant with his own seed, or by planting an egg filled with his own blood in the ground.


There are enormous examples of similar symbols in the folklore heritage of all over the Earth, because most civilizations have some version of the story of the Green Man, the plant humanoid that most often brings the spring. Throughout the history of Western art, we find this motif as a frequent architectural decoration of both sacral and profane objects through many variations. It is most often depicted as a human face made of leaves and is often interpreted as a representation of a vegetative deity, which originated independently in different cultures throughout history and has remained so to this day as a symbol of rebirth and cyclical circulation in nature.

video: Ivan Faktor