Following 'Origami Extinction' and 'Origami Renaissance', the artist continues to use the ancient art of origami to portray the extinction of animal species around the world. Whilst in ’Origami Extinction’, the artist focused on abstract, impactful aesthetics to create an effect on the audience by depicting the number of remaining individuals in the wild, and in ‘Origami Renaissance’, she explored the materiality behind her artworks through the symbolic use of fire by concentrating on species thought to be extinct and rediscovered, in this series, she decided to focus on species effectively extinct. 

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In 'Origami Gone', she chose a new traditional origami, the candy bowl, which even square shape enables to explore rich plays of lights and shadows for it to gradually lose its original meaning through abstraction. Displayed on a pure black surface, the single white colour of the elements holds a three-fold symbolism. The geometric patterns in which the origami have been displayed mirror the shape of the living being that has gone extinct for the viewer to muse and better connect to the species through visualisation. The colours and disposition of the origami are made to echo constellations and their spiritual significance linked to old religions and their likening of the stars to deceased ancestors or the gods. And the interplay of the white nuances and linearity create an aesthetic reminiscent of interconnected bones, such as a spinal cord, thereby resounding with the given species' demise and the interconnectivity of all living beings in the ecosystem. To that purpose, in this series, the artists has selected various types of life forms, from mammals, to insects and minerals, the latter are often easily forgotten outside of the scientific world and no less important.

All original photographs are numbered and limited to six editions.