We typically understand extraction practices as the activation of speculative fantasies about sites such as a deep-ocean floor laden with mineral resources–troves of oil, or the next new medicinal medium, to be drawn and exploited. Embodied Pacific: Extraction appropriates the term to feature works that engage elemental media used for millennia, returning our senses to the surface and to regenerative botanical practices. Drawing is interpreted as a means of renewal in the repurposing of digital media that have relied on rare earth metals. The Our Worlds Weshow (woven basket) project by Catherine Eng, Gloria Montes Crosthwaite, Anna Gloria (Martha) Rodriguez, and Stanley Rodriguez foregrounds the process of making vessels from coastal juncus dyed with mineral extracts, and the extractive and regenerative nature of language and naming. The two juncus baskets woven by Gloria Crosthwaite, a renowned master weaver, filter and extract from cultural history in a process narrated through hand drawings by Gloria Crosthwaite in a process that is represented in an immersive 3D video by Eng and Crosthwaite shown in both large and small scale. Miniature holograms of fish titled in the Kumeyaay language, a project by Catherine Eng, are projected in a weaving by Dr. Stanley Rodriguez–a chii taarruurr, a fish trap that is meant to be used in the ocean. Swimming in the mouth of the trap are Kumeyaay words for tiny hologrammatical fish, ciphers of ocean sustenance. A Handwoven Future is a new work by Pinar Yoldaş consisting of three linked woven structures that together generate lipids from algae, that are needed in a new process for producing biodegradable plastic polymers, a technique devised by the artist’s BioArch Studio in 2023 through 2025. The two grapevine and plastic tubing baskets in the series, woven in a manner that is traditional to the artist’s family, are titled Incir (the Turkish word for fig), Üzüm (grape). Victoria Amazonica, the third work, is a window-like weaving that displays the channeling of the water as it courses between the two baskets. Yoldaş interprets Indigenous Western Anatolian hand-weaving techniques to extract lipids from algae using the botanical design of straw adapted to make plastic tubing function as a thermoregulatory system in a photobioreactor vessel that serves as a soft-woven home for micro-algae. Quantities of this genetically modified algae will be produced through this economically stacked system in the artist’s BioArch Studio, where the lipids will serve as a molecular precursor for the production of biodegradable plastic polymers. These baskets, made with the help of the artist’s community in Turkey, are photobioreactor plants, living systems that will contribute to a handwoven future further imagined in Kara-tas, one of a series of Caran d’Ache undersea drawing that is the backdrop to these works. In Pacific Salt (2024) and Saltworks (2016), Paolo Zúñiga focuses on one of the first minerals to be harvested by humans for consumption. The South Bay Salt Works, one of the oldest businesses in San Diego, engages in the extraction of a mineral as coveted as gold, lithium, and sugar. Presenting salt as a medium of desire and consumption, these works, which include a salt pile that invokes the continuum between extraction, sustenance, and surface aesthetics, insist on an expanded concept of media that bridges ancestral, ecological, and regenerative practices. The closing program will feature a panel discussion about the works as well as a screening of an excerpt from Long Live Holly 2035, a conceptual film produced by Louis Hock in 2024 that reflects on the fate of Platform Holly, a decommissioned oil rig off the coast of Santa Barbara that has been the object of speculative fantasies about reincarnations of the platform’s seeping carcass as an eco-themed attraction.