Tia Avila looks into nature and humans and their interrelatedness to growth and decay. In her practice, Avila closely observes flora (akin to a child's curiosity) and draws similarities to the bodies that see us throughout the stages and progression of life and the cycles that continuously repeat in their many forms. SEEDGUT focuses on that symbiotic relationship and the understanding that, with disintegration, new life takes over and flourishes. Thus, the exhibition is in earth's colors with symbolic flowers and plant structures that present the resemblances in the little parts that make the functioning whole in each living being. 

Avila begins with life's origins: a seed grows and reproduces outwardly. However, after a while,  decay starts to become more present. The remains then leave a legacy; after one lifetime, they transform beyond human physicality. Simply observing such occurrences reveals that the parts and systems of the human body are similar to those of plants. The blood vessels underneath the skin are the veins on the surface of leaves, both as pathways throughout these bodies. Similarly, the reproductive organs are much like flowers that release eggs for offspring. By painting these botanical parts on the human body, Avila reinforces our innate likeness to nature and the fact that much of our internal and external functioning are quite the same. The figures painted on green surfaces appear like gardens intended for the flourishing of new life.

Many of the paintings in this exhibition are dominated by shades of green and burnt umber, while the fine lines traced across their surfaces outline the contours of the bodies containing life. In the work Seedbody I: The Origin, the figure in a fetal position looks like a seed, with subtle markings of flowers on its surface and lying on a bed of connected roots. Meanwhile, a similar image appears to be blooming in full in Seedbody II: The Aftergrowth, where Avila introduces us to the continuity of life in another form. Instead of grim emotions often attached to decay, the emergence of flowers in its place says that the perceived loss is merely a transition to another being–its physical form ceases to exist and yet its presence does not simply become lost and forgotten. Nevertheless, decay nurtures rather than purges, offering a sense of comfort and reassurance.

Avila presents the pivotal stages of life: from the beginning as an unborn offspring to its reproduction and propagation, decay, and flourishing anew. However, unlike the common belief that there is a start and an end to one's life, SEEDGUT shows that life continues and perhaps, there is no end to the possibilities of existence. Life is remembered by what grows from it or the way its essence perseveres as a different living organism. Similar to nature's return to the earth, the human body, too, can impart seeds that blossom. 

Finally, in her bold and intuitive strokes across each canvas, Avila paints the likeness of nature and the human body and imparts such beauty to the continuity of growth and rebirth, reminding us that we are all part of a larger life thriving in perpetuity.

Curated by Sayoka Takemura