Otherwise invisible air bubbles, shimmering particles and the microplastics contained in both the cosmetics
and the sand samples come to light. In their abstractness and alienation, the formations inevitably evoke as-
sociations: microorganisms from the deep sea, amoebae and protozoa, ammonites and squid seem to emerge
from the opaque darkness of the black background. Evoking the appearance of a scientific experiment, the
fiction of this microscopic underwater inventory simultaneously points to the real presence of the micro-par-
ticles depicted, which have long since permeated the oceans. In this investigation of the hidden inner life of
cosmetic substances, ecological interdependencies, concepts of interspecies relationships and projections of
"nature" literally seem to merge.
Seeliger's works thus point to a paradox that seems to be inherent in human behaviour in relation to our own
perception of the oceans: on the one hand, their barely explored depths serve us as a synonym for the deep
unconscious, as a romantic metaphor of sublimity, as a projection surface for idealized ideas of untouched
nature. In fact, the oceans have long since become the key space of globalization and, as a biotic mass, are
already marked down to the microscopic level by traces left behind by mankind. Plastic is even found at their
deepest points, such as the Mariana Trench. Seeliger's use of cosmetics brings our own skin - our outer
boundaries, our interface - metaphorically close to the more far-reaching question of permeability and
contact present here: from the fluid transitions between artistic media and research areas to the unstoppable
penetration of nature by human influence.

Text by Linnea Bake