Elena Renée Pereira, Netherlands / Germany / India, 16.11.1985 // visual / conceptual artist / artistic researcher/ material design/ textile art

From anatomical examinations to imprints that are formed into material studies through progression of performative nature or emanated forms.
Into the intimate nature of the domestic and its daily rituals in behavior and object. The process questions; the organic and the so-called man made nature in an examination. .

Reinventing the tools and toolsets for preservation and working with nature. Examinating the before 'natures recepies that extracts Flora and the landscapes materiality

to heal nurture or interact with floral plant species in various environments.

Meditations in the images are sublimated to capture processes like osmosing and sublimation in the ephemeral to obtaining foreverness through the practiced methodologies studied

from ancient alchemical craft processes that capture to preserve and capture an ongoing archival library of these imprints.


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- / info / publication / press / email studio@elenapereira.com



/Projects / Exhibited

2024, - still lives never still, lenticular textiles in viewfinder perspectives, wow it's a sandstorm group show, 1 shanthi road Bangalore
2023 - Passport lines and everything has a navel-, printed textiles and navels casted fruit/vegetables/human

2023-24 - Threats to Flora: An Ornamental Extinction Risk in fragile endangered habitats, archived Almanacs from flora and fauna, residue in beeswax and extracts, before we forget (ongoing project 23-24), IN, DE, NL

2023-Painting on the space species and intimate detail in between 11 framed narratives, Venkatappa Art Gallery, Show, Bangalore India

2022- - The imprinted handkerchiefs and tissues are crated in an ongoing archive where residues of materials are encapsulated in resins with pigments and milk. An insight into Immigrating Species between the so called Green Borders . One talks about grass always being greener 'for' the Other side then 'on'. A romanticized idea of immigration we seem to acknowledge. Green borders between countries are of the wildest conditions; in the effect of a chromostereopsis of two projected curtains; if stared at, red one sees green and vice versa. CKP Karnataka Chitrakala Parishath Bangalore LINK

2021-22 toxicity in textile and other material waste regarding color and application- from the processed to the
raw matters ungoing

2020 groups show India Art fair~ Imprint after and per formative nature interrogation meal India Art Fair, Pulp society,
New Delhi, Handkerchiefs and Imprint Archive.= flowerlab LINK

2019 Auspicious one- objects in narrative group show- Das leben ist eine Kartoffel-Bahnhof52 gallery,curated by
Elisabeth Schink, Kleve/Cologne,DE LINK

2018 Flower-readings/ flower lab, per formative nature, powercutted -Bangalore IN I LINK
Do not Disappear on me, hallucinating curtains, groupshow in between spaces at Walkin Studio- Bangalore, IN LINK

2017 Beeswax in Shade - Flora and beeswax. Sensuous Scents ~new material discoveries Enkaustikos- Design trajectories- Temporary Art Centre- Dutch design week, Eindhoven,NL LINK

2016 a dying performance, per formative nature, In Between Spaces, groupshow at Walkin Studio- Bangalore, IN

Hammock, look into a Cloud and Big appetite, Love> Sensorium-group show, Sunaparanta Goa Centre for the Arts, Goa IN LINK

2015 Leftovers love and Other Stories, Solo Show 13 works, Lakeeren gallery, curated by Arshiya Lokhandwala ,Bombay IN LINK LINKLINK

2014 Soundscales Installation made from waste bottles for Levi's wasteless campaign, curated by Counterculture, Bangalore IN LINK

2013 The Nature of the Unexpected,- Khoj, Art and fashion Residency group show, curated by Pooja Sood, New Delhi IN LINK LINK

The process laboratory and it's products-Biodesign; On the Cross-Pollination of Nature,
Science and Creativity group show,In bloom - ,curated by William Myers, NAI Rotterdam NL LINK

The Reflectives, 13 Objects in reflection, solo show opening Art Bengaluru UB City-Sublime Galleria, Bangalore IN LINK

The Flowershop, project of a shop - lamps, jewellery and objects made in residency, Artshop, Himachal Pradesh India IN LINK

Pillow tears, As tears go by, groupshow, Cokkie Snoei Gallery, curated by Cokkie Snoei, Rotterdam NL LINKLINK

2012 In Bloom, wallpapers, chandeliers, fabrics, beds and carpet Witte Dame, graduation show Design Academy Eindhoven, NL
In Bloom, groupshow, Nominated with 'in bloom' methodology for material prize 2012, fabrics and wallpapers, doen-materiaalprijs, Van Abbe Museum Eindhoven NL LINK

2011 Picturesque landscapes, groupshow- design academy eindhoven/ Raadhuis, Marres-house for contemporary culture
curation Maastricht NL LINK

die Flugmachine, Objects talking in Fabric, gallery B52 bahnhof, curated by Elisabeth Schink, Cologne DE LINK

2010 Art or Fashion?!, soloshow, mixed media, n the labour of embelishments; analogue photographic evidence in sequence with sequences on kurtas; heavily embelished in labour as it comes to in the fashion industry in sweatshops. 1shantiroad, artist in residency 6 months, Bangalore LINK

2008 work in progress collection of fabric research in clothes, Kersvers,Centraal Museum Utrecht NL LINK

die unendliche /work in progress, Young Talent, sustainable fashion future, Modefabriek Amsterdam Rai NL LINK LINK

Lichting Amsterdam Fashion week selection collection 2008, Westergastfabriek, Amsterdam NL LINK LINK

2010-2012 Master Contextual design - Design Academy Eindhoven NL
2004-2008 Bachelor Fashion & Textile Design, School of Arts Utrecht NL
2009-2010 Visual Communication, Srishti School of Art, Design and technology IN
2006-2007 Textile Design, Srishti School of Art, Design and technology IN
2012-present Founder of design StudioButterfruit/ flowerlab ; material research
2009-12 Philips design Probes material researcher/ material designer
Probes; microbial home, metamorphosis, food probes, livable cities 2050 with Clive Heerden and Jack Mama,
Netherlands/- India for Philips Probes Eindhoven NL

2014-present Faculty at Srishti Manipal Institute of Art, Design and technology Bangalore IN

since 2014 in Art- Design Practices material design, innovation in fibers for textile and product nature-man made

Material practices and techniques from man made and natural composites residues and remnands in leftover abundancein recycling material compositions for fiber futures from the anthroprocene landscape dissection

in design processes at Srishti Manipal Institute for Art, Design and Technology in Bangalore India.

2013 Khoj International Artist Association Delhi, curated by Pooja Sood, New Delhi IN
2013 Art Shops,curated by Frank Schlichtman, Gunaher village, Himachal Pradesh India IN
2012 flowerrooms Walkin Studios Bangalore IN
2010 Art or Fashion?!, 1shantiroad, curated by Suresh Jayaram, Bangalore IN

Publications/ Articles/ books;

homestreethome LINK

Material design- doen materiaal prijs LINK

Art Fevour LINK

The Citizin LINK

Van Abbe museum - doen materiaalprijs LINK

Studio story- let kiss magazine interview LINK

Future materials bank LINK

Mix races homegrown LINK

INhabitat LINK

Elledecor IN LINK

Philips Probes -( speculative design microbial home Fiona and Dunne) foodprobes LINK

Metapmorphosis and Liveable cities ( Bart Hess, Harm Rensink and Eric de Haas publishing) LINK

Biodesign, on the Cross-Pollination of Nature, Science
and Creativity - het nieuwe insituut - curated book curated by William Myers, NAI Rotterdam NL LINK

Design Academy Eindhoven, 2011Commissioned by Marres-House for Contemporary Culture(NL)Bureau Europa(NL), Province of Limburg(NL)‘Atlas of Limburg’, an atlas developed in the framework of the ‘Landschapsproject’, commissioned by Marres Centre for Contemporary Culture(NL), Bureau Europa and the Province of Limburg(NL). The project focused on the landscape of Limburg, aiming to map ‘invisible infrastructures’. Focus point of study case; flax from raw to processed in this historic landscape.


Substance in-between species, a hybrid flower of sorts, interlaced in an landscape study
in found materialities leftovers in natures interactions reviving toolsets for imprints and
extract of these remnands. In otherness inspired by cultivation in species,
and revealing anthropogenic narratives for imprint and form with textiled narratives.

From anatomical examinations to imprints that are formed into material studies through
progression of performative nature or emanated forms. Into the intimate nature of the domestic
and its daily rituals in behavior and object. The process questions; the organic and the so-called
man made nature in an examination.
By Reformulating Material processes and experiments that capture,preserve and conserve
materiality from natural composites to man made
leftovers that are evidences in a landscapes imprint.










(Elena Pereira - Flower Meal - Let’s Talk Nature Performance 2019 - Found Flowers, edible jellies, beeswax, sugar, leaves, etc.)
Imprint Archives; The Coloured Garlands, One is One is Repeat, They Fell from the Sky, Sandwiched Wild Flowers (wallpapers) Assorted Sizes, 2019

Who is Elena Renée Pereira?
Substance in-between species, a hybrid flower of sorts, interlaced with a city landscape study of German, Indian and Dutch. In otherness inspired by cultivation in species, patterns and revealing anthropogenic narratives for imprint and form.


Elena Pereira is a conceptual artist who combines art, design, and performance to create objects which bring different materials into conversation with each other. Showcasing a varied body of work including resin-cast sculptures of found tissues and handkerchiefs, wallpaper sheets hand-blocked with different wildflower blooms, and a performative gesture inviting audience members to partake in a collective ‘memory’ meal — the core of Pereira’s practice is in the idea of creating an archive of residue. 

2015 Solo show Bombay - Lakeeren Art Gallery- In Leftover Love and Other Stories, Elena Pereira a Bangalore based artist attends to the struggle of life's demands contemplated within one’s private living space. For her the home is where we refresh ourselves on a daily basis, ready to go out in the world. How can we remove ourselves from the staleness of our past intimacies and vulnerabilities to start anew is what she is trying to understand. Calling attention to the impermanence of life itself, she uses nature as a muse, destroying flowers - capturing their imprint as an essence before they disappear forever. Harvesting a desire for capturing and preserving life, the artist imprints these precious moments on wallpapers, fabrics, onto our beds, table, lamp, carpet and kitchen.

Design Academy Of Eindhoven's Masters graduation show 2012

Indian-German-Dutch  Elena Pereira used flowers to create "In Bloom", a collection of emotional interior design pieces that include a sculpture, flowers extracts, and a curtain made from dried roses.


Research of the imaginative characteristics of flowers and their usual imagery in interior design.

Flowers are used to express emotion, and to express the cultivation of perfection. A flower is the signifer of all important
moments in life, of birth, love and death;
they are the objects through which we
express ourselves.
We copy flower and plant images onto the
objects we use and with which we surround
ourselves in millions of ways, to project
beauty into our environment. We exploit
the noble reputation of ‘nature’ in order to
guarantee aesthetic quality.
We are all born in a designed world, and
we implement nature in design.

Life withers. Nothing ever stays the
same. I’m frustrated with the cultivation of
perfection; I want to destroy it before it’s
gone in order to save a trace, capturing the
imprint of life as a way of preserving it.
Withering flowers have been used in still
lives as representations of human withering.
The temporality of the blooms leaves an
imprint, stains, irrational traces, separating
the pure from the impure. Nature stains
human culture with its embellishments.
Using the flower as the subject changes
an object. The motifs of patterns come and
go depending on the seasons, but rather
than being influenced by the flowers, they
are determined by our taste. Flowers are
ornaments in heat.

I find that an imprint and a cast from the
shape is the best ways to keep the flower’s
impression, as a residue of life.
The research of this project involved the
use of flowers and man-made materials
of existing flower prints, combining them to
reflect the true essence of flowers.
By extracting the juice, colour, matter and
shape from the real flowers.
The stronger the constructions of the
technique were, like hammering or stitching,
the stronger the flower showed its essence.
The desire for capturing and preserving life
by extracting life into our wallpapers, fabrics, flower holders and into our beds.


Elena Pereira is a conceptual artist wor king primarily in the medium of flora. Her work expresses the performativity of the design process through what she calls ‘absurd material studies’, a commentary on the fantasy of creating something new. Pereira deconstructed the ironic process of printing images of nature – particularly flowers – onto wallpaper and fabrics that would be used indoors. The Industrial Revolution made it possible to print any image onto enormous quantities of fabric; this essentially removed the ‘natural’, artisanal process of hand-printing florals. Pereira thus decided to use actual flowers as printing materials. She used disregarded and rejected flowers from markets and florists, pressing them into silks and cottons with a hammer and wooden blocks. She fixated the prints with ‘secret decoctions’, re-mystifying the process of printing florals and emphasizing the value of discarded blooms.

Imprint Archive – In Bloom. We consume flowers daily visually in our domestic living spaces and flowers ingredients incorporated into our moisturisers and perfumes.

On fabric, flower patterns are often depicted. Rather than using an artificial illustration of flowers this project uses real flowers to create unique fabric patterns. The flower selection originated from an abundance of leftovers at flower markets and floriculture in Netherlands and India. No harmful chemicals were used and only natural fixers and ingredients from the flowers were incorporated.In the same rhythm of block printing, each flower is repeatedly imprinted into the material with its colour, form and imprint.By removing the process of the perfect imprint one has to select the flower by its form, colour and botanical structure in its real dimensions.
All prints have been fixed with natural chemicals. Flowers have been donated by floriculture and from left overs at flower markets. In the nature of natural dyeing techniques the process has been simplified through pressings and hammering.

Information by the Future Materials Bank. link


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