Anderson's practice is performative and rooted in an animist ontology, where various beings (humans, animals, plants, stones, objects) have their own perspective on the world and engage in relations based on reciprocity and communication. 

 

Anderson's encounter in Brazil with Ailton Krenak, a major figure in the defense of indigenous peoples' rights, writer, thinker and internationally renowned ecologist, contributed to deepening her conviction that everything in the world is interconnected. Anderson establishes bridges between indigenous knowledge systems and quantum physics, recognizing matter as an active and vibrant field. 

 

The TECHNOLOGICAL DANCES paintings are created by dancing with ancient tools, modern machines, electronic circuits, architectural elements or meteorites, in order to reconnect with their animated materiality, as if to repair our relationships with the more-than-human world. 

 

During these dances, Anderson applies liquid paint onto objects to free them from their primary functionality. These painted entities become AWAKENED OBJECTS. Their imprints created on canvas record these communications, beyond the visible world, during states of trance. They bear witness to another possible intelligence in the age of AI: the one that inhabits matter.