For over 100 years, the machine has been celebrated and worshiped as an object that produces dreams, enthusiasm and awe. Western art and literature have gone back and forth between worship in the 1920s and 30s, to criticism in the 1960s and 1970s, to a hybrid situation today, where the culture simultaneously worships, challenges, consumes and seeks meaning through the machine and especially digital technology. With her works, Ida Hermansen challenges the assumption of the contradictory relationship between technology and nature and takes as a starting point the concept of Technê-Zen, which originates from Robert Pirsig's philosophical short story 'Zen and the Art of Motorcycle Maintenance'. A hypothesis that is about living in harmony with nature and technology, as illustrated in Richard Brautigan's poem 'All Watched over by Machines of Loving Grace' from 1967. The true ugliness is not in the machine itself, but in our relationship with it. The works consist of digital and analogue photographs, brought together, layered upon layer, driven by the medium and at the same time liberated. A digital imprint of man-made objects, inspired by nature and expressed through technology - therein lies the harmony. Some works appear almost as if they were taken out of the future space of utopia.