The Supernatural Series (2013–ongoing) constitutes the metabolic axis of Anto Lloveras’s Socioplastics, wherein art relinquishes static objecthood to assume the condition of a living, consumable cycle. Conceived as an operative cosmology rather than a discrete corpus, it mobilises wild botany, oxidation, scent, and alimentary ritual under the governing maxim “No Leftovers”—a sequential liturgy of Take → Display → Picture → Cook → Eat → Post. Here, the so-called supernatural is neither mystic residue nor transcendental excess; it is the intensification of the ordinary through sustained relational attention, rendering nourishment itself an epistemic act. Early manifestations in MUDAS established the olfactory grammar of controlled decay: banana and maize leaves pinned to humid walls exhaled metallic-sweet vapours as they curled, instituting scent as architectural duration. Parallel Mediterranean inflections emerged in Lemon Kiss, where one hundred kissed lemons oxidised into a citrus cloud, publicising the intimate protocols of affection and perishability. Subsequent reframings, notably Ephemeral Rituals and the Supernatural Wall (Cádiz, 2026), condensed twelve wild tagarninas into arm-reach circles against whitewashed façades, suturing rural rice fields to urban stone while consummating the ritual through ingestion. Across these iterations, the Relational Body becomes infrastructural conduit, and Decay-as-Clock supersedes preservationist museology. The series ultimately posits a postdigital ontology in which memory is not archived but metabolised: art persists not by resisting entropy, but by traversing the body and re-entering the mesh as affective density.
Lloveras, A. (2026) ‘Ephemeral Rituals and the Supernatural Wall * The Light in Cádiz as FoodArt Synthesis’, 19 January. Available at: https://antolloveras.blogspot.com/2026/01/ephemeral-rituals-and-supernatural-wall.html
