The series of images presented try to bring out the corrosive relationship between light and the invisible bearers of our ecosystem. The usual invisibility of insects, and other creatures are countered by these images. Here they dominate the image. In many works insects are hyper-sized to a surreal degree, while others place the creatures in jarring contexts or unusual juxtapositions. Their bodies are often uncomfortably interacting with, or inscribed with light, technology, urban landscapes, or cartographic imagery. These interventions create a psychic space where these creatures to have a strong visual presence which stands in contrast to their minimised presence in reality. This reoriented psychic space also alters for the viewers’ perception of reality and their place in it. Si-multaneously, as it magnifies the presence of these creatures, it also inversely shrinks down the viewer allowing them to experientially interact with the art from a flipped perspective. In other words the viewer and the subject swap their usual places. This inversion carries forward in the narrative of the art beyond simple position and scale. Creatures like insects are often seen as the encroachers in human contexts - visualised as pests. However the vo-cabulary of these images inverts the metaphor of encroachment, and reframes humanity as the invasive species. Human technology, cartography, and various metaphors of the urban bleed into these creatures — as scars, appendages, malignant growths etc. — wounding them, choking the life out of them. In the world of this art we become the pests. Ultimately these works try to engage the viewer with an empathetic perspective on behalf of the crea-tures we find very difficult to empathise with. It also tries to complicate our perception of one of hu-manity’s greatest technological breakthrough—artificial lighting—and asks us to reconsider the im-mense collateral damage inflicted by it. Most importantly it just asks us to be better caretakers of nature, on