UV acrylic print on white gessoed linen
113 x 86 in (287.0 x 218.4 cm), ed. of 1 + 1 AP
Additional Sizes:
80 x 60 in (203.2 cm x 152.4 cm), ed. of 3 + 1 AP
60 x 45 in image (152.4 x 114.3 cm), ed. of 5 + 1 AP
UV acrylic print on white gessoed linen
107 x 80 in (271.8 x 203.2 cm) ed. of 1 + 1 AP
Additional Sizes:
80 x 60 in (203.2 cm x 152.4 cm), ed. of 3 + 1 AP
60 x 45 in image (152.4 x 114.3 cm), ed. of 5 + 1 AP
Additional Sizes:
80 x 60 in (203.2 cm x 152.4 cm), ed. of 3 + 1 AP
60 x 45 in image (152.4 x 114.3 cm), ed. of 5 + 1 AP
UV acrylic print on white gessoed linen
107 x 80 in (271.8 x 203.2 cm) ed. of 1 + 1 AP
Additional Sizes:
80 x 60 in (203.2 cm x 152.4 cm), ed. of 3 + 1 AP
60 x 45 in image (152.4 x 114.3 cm), ed. of 5 + 1 AP
107 x 80 in (271.8 x 203.2 cm) ed. of 1 + 1 AP
Additional Sizes:
80 x 60 in (203.2 cm x 152.4 cm), ed. of 3 + 1 AP
60 x 45 in image (152.4 x 114.3 cm), ed. of 5 + 1 AP
Yanbaru Forest, Okinawa, 2026
UV Acrylic on white gessoed linen
80 x 107 in (203.2 x 271.8 cm) ed. of 1 + 1 AP
Additional Sizes:
60 x 80 in (152.4 x 203.2 cm cm), ed. of 3 + 1 AP
45 x 60 in image (114.3 x 152.4 cm), ed. of 5 + 1 AP
80 x 107 in (203.2 x 271.8 cm) ed. of 1 + 1 AP
Additional Sizes:
60 x 80 in (152.4 x 203.2 cm cm), ed. of 3 + 1 AP
45 x 60 in image (114.3 x 152.4 cm), ed. of 5 + 1 AP
Greater Beedelup National Park, Western Australia, 2026
UV Acrylic on white gessoed linen
80 x 107 in (203.2 x 271.8 cm) ed. of 1 + 1 AP
Additional Sizes:
60 x 80 in (152.4 x 203.2 cm cm), ed. of 3 + 1 AP
45 x 60 in image (114.3 x 152.4 cm), ed. of 5 + 1 AP
80 x 107 in (203.2 x 271.8 cm) ed. of 1 + 1 AP
Additional Sizes:
60 x 80 in (152.4 x 203.2 cm cm), ed. of 3 + 1 AP
45 x 60 in image (114.3 x 152.4 cm), ed. of 5 + 1 AP
Taman Negara Endau-Rompin, Johor, 2026
UV Acrylic on white gessoed linen
80 x 107 in (203.2 x 271.8 cm) ed. of 1 + 1 AP
Additional Sizes:
60 x 80 in (152.4 x 203.2 cm cm), ed. of 3 + 1 AP
45 x 60 in image (114.3 x 152.4 cm), ed. of 5 + 1 AP
80 x 107 in (203.2 x 271.8 cm) ed. of 1 + 1 AP
Additional Sizes:
60 x 80 in (152.4 x 203.2 cm cm), ed. of 3 + 1 AP
45 x 60 in image (114.3 x 152.4 cm), ed. of 5 + 1 AP
Yanbaru Forest, Okinawa II, 2026
UV Acrylic on white gessoed linen
Edition 1 + 1 AP
Edition 1 + 1 AP
80 x 107 in (203.2 x 271.8 cm) ed. of 1 + 1 AP
Additional Sizes:
60 x 80 in (152.4 x 203.2 cm cm), ed. of 3 + 1 AP
45 x 60 in image (114.3 x 152.4 cm), ed. of 5 + 1 AP
Additional Sizes:
60 x 80 in (152.4 x 203.2 cm cm), ed. of 3 + 1 AP
45 x 60 in image (114.3 x 152.4 cm), ed. of 5 + 1 AP
Hoh Rain Forest, Olympic National Park, Washington II, 2026
UV Acrylic on white gessoed linen
80 x 107 in (203.2 x 271.8 cm) ed. of 1 + 1 AP
Additional Sizes:
60 x 80 in (152.4 x 203.2 cm cm), ed. of 3 + 1 AP
45 x 60 in image (114.3 x 152.4 cm), ed. of 5 + 1 AP
Additional Sizes:
60 x 80 in (152.4 x 203.2 cm cm), ed. of 3 + 1 AP
45 x 60 in image (114.3 x 152.4 cm), ed. of 5 + 1 AP
Kinabalu Geopark, Borneo, 2026
UV Acrylic on white gessoed linen
80 x 107 in (203.2 x 271.8 cm) ed. of 1 + 1 AP
Additional Sizes:
60 x 80 in (152.4 x 203.2 cm cm), ed. of 3 + 1 AP
45 x 60 in image (114.3 x 152.4 cm), ed. of 5 + 1 AP
80 x 107 in (203.2 x 271.8 cm) ed. of 1 + 1 AP
Additional Sizes:
60 x 80 in (152.4 x 203.2 cm cm), ed. of 3 + 1 AP
45 x 60 in image (114.3 x 152.4 cm), ed. of 5 + 1 AP
A series of large-scale pictures printed in acrylic on white gessoed linen canvases, the work rigorously depicts infinitely complex forest ecosystems, asserting the forest as agentic — a subject, not an object — acting independently of human perception and going well beyond human comprehension. With contemporary environmental rhetoric often robbing nature of its agency - the natural world reduced to either something to be protected or something to be mined for resources - Agentic Forests refuses this anthropocentric binary while exploring both our entanglement with and estrangement from the natural world.
For fifteen years, Guariglia has documented hallowed forests from all corners of the globe. He employs a meticulous process to photograph his forests, inch by inch, using a stacking method that draws on scientific microscopy, merging dozens of exposures into a single composite plane. The fastidious work ensures each picture coalesces perfectly for the eye. The resulting perspective is remarkably in focus and familiar; this recognizability is then disrupted when Guariglia uses a chromatic shift to place the pictures under ultraviolet light, radically altering the colours to unsettle expectations of these spaces — flooding them with violets, cyans, magentas, and spectral whites. The subversive gesture nods to the tetrachromatic UV vision of birds and insects, refuting anthropocentric orders through crisp, seductive works that seem otherworldly yet are grounded in a capacious understanding of our world.
At nearly nine feet high, Hoh Rainforest Forest, Olympic National Park, Washington (2026), presents a network of white shapes that cascades and germinates across the composition, tinged with various purples. Standing before the work, the viewer is immersed in a beautiful web of clear visual information with no beginning or end. The wild space is made uncanny — at once familiar and distant. Even if one has never been to this exact forest, the iconography is known, yet its presence here makes us question our assumptions about it.
Graham Harman's flat ontology — the antihierarchical notion that no entity on earth possesses a more privileged ontological status than any other — is a key philosophical undercurrent of the series. The pictures manifest this verity: human and machine vision are not all-encompassing. They are spaces for accessing worlds and concepts that humans cannot directly perceive, playing against the standard apparatus of photography to produce creative, unfixed meanings. The polysemic nature of the work mirrors its form, asserting that there is no visual or thematic hierarchy.
In the AI tech space, agentic describes systems capable of autonomous decision-making. At a moment when AI is treated as a hyper-capable, growing entity whose creators view forests as mere resources, the series insists otherwise, with the exceptional degree of independence belonging to nature. Robin Wall Kimmerer's writings on animacy bridge Indigenous cosmologies and contemporary philosophy to show that subjects, not objects, populate the living world — a claim supported by years of scientific research demonstrating the forests' ability to communicate, remember, and make decisions. At a moment when we consider AI as hypercapable, growing entities whose creators view forests as mere resources, Guariglia reminds us that our ecology is the ever-present order that existed before us and will exist long after.
Agentic Forests previews a forthcoming travelling museum show to be announced in Autumn 2026.