In the installation the fragile paper plants seem to float around a large white wall that cuts through the space. The two sides of the wall, each representing half a year, clearly differ. The composition of the early plants contrasts with the other side of the wall that gives a fuller and more eccentric expression. By creating every day and by using direct and elementary techniques such as drawing, cutting and ink-washing, Videler wants to reconstruct the senses. Connecting deeper and deeper with the world around us, she shares an imaginary post-human reality with the visitors.

A portrait of the artist cutting a plant and an essay by the artist titled Plant Day are part of the installation. The essay provides insight into the happenings of daily life that accompany the making of these detailed and delicate works. Plant Day follows the saga of a backyard magnolia tree’s human-influenced, grim fate and the artist’s committed intervention. The event of the magnolia tree sets the temporality and frame of view that day, and Videler punctuates the narrative with anecdotal observations and interpretations of what she is surrounded by – from art historical references to her ritualistic, embodied practice within her Artist House. She acknowledges the human and nonhuman details that color each day, and that ultimately inform her artistic practice.