Supermrin
Supermrin (b. Delhi, India) makes drawings and sculptures from foraged trees and a bioplastic she synthesizes from waste grass clippings. Weaving together biophilosophy, decolonial theory, architecture, material science, and speculative fiction, her work interrogates the capitalist and colonial logics embedded in the global lawn. Her project, FIELD, is featured in Towards Another Architecture: New Visions for the 21st Century (Lund Humphries, 2024), a critical reappraisal of Le Corbusier’s legacy in the Global South amid escalating climate crises.
Supermrin’s work has been presented at the Cincinnati Art Museum, the Contemporary Arts Center, Cincinnati, the Museum of Contemporary Art Cleveland, Special Projects at Untitled Art Fair Miami, PS122 Gallery, New York, and the Château de Vaudijon, Switzerland. She is a recipient of the Anonymous Was A Woman Environmental Art Grant (2025), and the Franklin Furnace Fund for Performance Art. Supermrin is the Area Head of Interdisciplinary Practice at the University of Cincinnati’s School of Art, an artist-in-residence at Silver Art Projects in New York City, and a research fellow at Genspace, a community biology lab in Brooklyn.
Artworks
Project rendering for FIELD [monsoon], 2027
FIELD [monsoon] is an architectural fragment becoming living organism: arched walls infilled with translucent drawings of grass and trees, a thatched roof that gathers rain, and a plant cradled in a vessel of grass-based bioplastic that gradually outgrows and ruptures its container. A slow choreography of growth and decay unfolds as the roof directs water into the pot, where the plant presses against its softening skin, and the façade walls hover between ruin and future dwelling. In this cycle of tending and undoing, the sculpture recalls monsoon architectures of South Asia, where water, thatch, and earth shape daily life into forms porous to climate and landscape. The East River waterfront at Socrates – shaped by tidal flux, seasonal humidity, and ongoing soil regeneration – offers the conditions to test an architecture that responds to water rather than resists it. Here, the sculpture becomes a metabolic structure – bioplastic walls embedded with seeds decompose into soil as the plant thrives, proposing an aesthetic of life rooted in vegetal time.