Here's how you can step inside the art by immersing in this art exhibition in Mumbai

Imagine an art exhibition where a portrait machine captures your fleeting presence mirrors look back at you flowers bloom beneath your feet lightweeds sway to the the wind and in the end you walk away with a page from the artwork itselfConceived and organised by experiential art venture Superblue Second Nature spans four floors of the Art House at NMACC bringing together immersive installations by Random International teamLab AA Murakami Simon Heijdens and Es Devlin Each work responds dynamically to both its surroundings and the people moving through it exploring one of the defining questions of our time how is technology reshaping our relationship with nature ourselves and one anotherNirvana is a reinterpretation of an 18thcentury Japanese painting where the perspective shifts with viewersrsquo movementldquoThe works are designed to be immediately engagingrdquo says Superblue cofounder Mollie DentBrocklehurst ldquoPeople respond first with their senses and emotions then gradually uncover the deeper layersrdquo Though some of the installations are nearly two decades old they feel strikingly contemporary ldquoWhat was once experimental has become eerily familiar in a world where technology permeates everyday life Rather than offering answers Second Nature encourages reflection It invites us to pause play question their surroundings and perhaps leave seeing both technology and themselves a little differentlyrdquoPresence and Erasure features a ldquoportrait machinerdquo that captures visitorsrsquo images briefly mirroring the fleeting nature of digital existenceThe journey begins with Londonbased collective Random International whose three installations explore identity memory and surveillance through responsive mirrors photography and light At the heart of the floor is Presence and Erasure a ldquoportrait machinerdquo that captures visitorsrsquo images that then disappear moments later mirroring the fleeting nature of digital existenceOur Future Selves transforms reflections into shimmering threedimensional points of light while Audience features mirrored sculptures that abruptly stop and collectively turn towards anyone entering the roomldquoOur work is really about our emotional relationship with technologyrdquo says Random Internationalrsquos cofounder Hannes Koch ldquoWersquore interested in what it means to be constantly observed by machines The sculptures are in a sense looking back at yourdquoRather than judging technology the artists invite visitors to confront their own reactions to it ldquoWersquore not trying to tell people whether technology is good or bad Thatrsquos not our role We want to make people aware of the condition wersquore living in Therersquos a strange mix of delight and discomfort when you suddenly recognise yourself through facial recognition You can feel genuinely happy to see yourself reflected but there are always strings attached to that experiencerdquoThe second floor shifts the conversation from technology to ecology through three immersive works by Tokyobased collective teamLab Here nature doesnrsquot simply surround visitors It responds to them dissolving the boundary between people and the environmentAt the heart of the floor is Flowers and People Cannot Be Controlled but Live Together a digital ecosystem where blossoms bloom and wither in response to human presence Stand still and flowers flourish beneath your feet move away and the landscape changes again Inspired by Japanrsquos satoyama where forests and human settlements coexist the work reflects the collectiversquos belief that people are not separate from nature but an integral part of itldquoFor more than 25 years wersquove explored one central question how do humans relate to the world around them and how do we perceive itrdquo says Artist Toshiyuki Inoko Nearby in Resonating Microcosms solidified light invites visitors to touch glowing ovoid sculptures that illuminate and emit sound creating an everchanging symphony of colour and light Completing the floor is Nirvana a reinterpretation of an 18thcentury Japanese painting that abandons fixed perspectives allowing visitors to reconstruct the artwork through movementThe third floor imagines a future where technology behaves less like a screen and more like nature itself Through the works of Simon Heijdens and AA Murakami the gallery becomes a living environment shaped by weather movement and chance Heijdensrsquo Lightweeds transforms digital plants into a living ecosystem that grows and shifts in real time using weather data collected outside the buildingldquoI wanted to bring nature back into a manmade environmentrdquo says Heijdens After studying how plants grow he translated those behaviours into software ldquoWeeds inspire the work A blade of grass pushing through a crack in the pavement says far more about nature than a perfectly cultivated park It speaks of growth decay and the constant cycles wersquore all part ofrdquoFor the artist the work is also a response to increasingly controlled modern life ldquoThe more perfect we make our spaces with airconditioning artificial lighting and constant connectivity the more detached they become from the natural worldrdquo he says ldquoI wanted to reconnect these interiors with an unplanned living timelinerdquoAlongside it AA Murakamirsquos New Spring produces delicate mistfilled blossoms that drift through the gallery before dissolving the instant they touch human skin transforming the fleeting beauty of spring into a poignant reminder of naturersquos fragilityThe exhibition culminates on the fourth floor with British artist Es Devlinrsquos Screenshare 2025 created specifically for NMACC A monumental screen built from 365 sketchbooks documents the artistrsquos creative process over the past 25 years while a film of dancer Dam Van Huynh performing alongside footage of his younger self reflects on memory time and change In its final act we were invited to tear away a page and take it home scattering Devlinrsquos personal archive into a collective history shaped by everyone who passes through the exhibitionFor Head of Curatorial at Superblue Margot Mottaz ldquoThe hope isnrsquot that people leave with definitive answers Instead the exhibition encourages quiet introspection Perhaps theyrsquoll notice how often they reach for their phones pay closer attention to a tree outside or become more aware of how technology quietly shapes their everyday lives Thatrsquos where Second Nature truly beginsrdquoWHEN Till January 10 2027WHERE Art House NMACC BKC