What does the biological, non-human world see when examining itself?

How can artists be informed by deep ecology to cultivate compassion towards ecosystems?

Davey Whitcraft is a Berlin-based artist working with moving image, installation, and sound to explore how systems of extraction leave behind both visible and invisible traces. His practice investigates how media infrastructures, ecological systems, and political histories intersect—often through signals and materials that escape immediate perception. He focuses on what he calls “Sites of Accumulation”—places shaped by overlapping forces like climate change, data infrastructures, resource mining, and political fictions.

His process blends speculative research and fieldwork, drawing on tools and concepts from geology, anthropology, and critical media studies. Whitcraft uses modified cameras, drones, and radios to record light and signal outside the range of human perception—capturing everything from background radiation to network traffic. These materials are layered into spatial installations that reflect on the thresholds of visibility, memory, and control.

Often moving between poetic observation and forensic attention, his work invites viewers to consider how technologies of vision and listening shape what we know—and what we overlook—about the systems we live within.

His work has been exhibited internationally at the Architecture + Design Museum (Los Angeles), the Museum of Architecture and Design Ljubljana, the Godwin-Ternbach Museum (New York), and at festivals and group shows including, Rietveld Academie (Amsterdam), Yami-ichi (Brussels), EvoMUSART (Budapest), Themes+Projects (San Francisco), Subliminal Projects (Los Angeles), One-Off Moving Image Festival (Copenhagen), The Wrong Biennale (Chicago), and the Leap Second Festival (Norway).

Whitcraft holds a PhD in Philosophy, Art, and Critical Thought from the European Graduate School (Saas-Fee) and an MFA in Media Art from UCLA.