Patricia Domínguez
Patricia Domínguez (*1984) is an artist, researcher and educator whose work explores the entangled relationships between ecological systems, technological infrastructures and spiritual cosmologies. Based in Puchuncaví, Chile, she develops a transdisciplinary practice spanning video, installation, sculpture and collective research, positioning art as a space in which environmental, political and epistemic transformations can be sensed and reimagined.
At the center of Domínguez’s practice lies the question of interdependence between species, knowledge systems and the material and immaterial dimensions of life. Drawing on ethnobotany, healing traditions and Indigenous cosmologies, she approaches plants as forms of relational intelligence and carriers of knowledge. These perspectives enter into dialogue with scientific research, digital culture and global economic systems, revealing how extractivism, colonial histories and technological infrastructures reshape ecosystems as well as modes of perception. Her work frames ecological crisis as simultaneously material, symbolic and epistemic.
She is the founder of Studio Vegetalista, an experimental platform dedicated to collective research in plant knowledge, ecological thought and alternative pedagogies. Reflecting her conviction that thinking about the cosmos is inseparable from thinking about collectivity, her installations often function as symbolic ecosystems in which plants, minerals, digital imagery and ritual forms coexist as interdependent systems. Combining moving image, sculptural elements and research-based methodologies, her projects create environments that oscillate between scientific inquiry and ceremonial space.
Domínguez holds an MFA from Hunter College in New York and a BA from the Pontificia Universidad Católica de Chile, and also studied botanical and natural science illustration at the New York Botanical Garden. Her work has been presented internationally in exhibitions and research-oriented programs, including group exhibitions and projects at the New Museum in New York, CentroCen tro in Madrid, Gasworks in London and the TBA21 Collection at C3A in Córdoba, as well as projects realized through programs such as YAP MoMA PS1 + Constructo in Santiago and presentations at the Pizzuti Museum of Art in Ohio. Her practice has been further shaped through residencies at institutions including CERN (Geneva), the ALMA Observatory (Atacama Desert), the American Museum of Natural History (New York) and Gasworks (London). In 2022 she received the Fundación Botín Visual Arts Grant and has received additional international grants and recognition.
