The artistic practice of Marvin Daumüller moves between painting, drawing, and experimental techniques such as embroidery, markings incised into stone, and large-scale murals in urban space. At its core lies a sustained inquiry into the concept of nature and, at the same time, into the world in its entirety. Nature appears not as objective reality, but as a culturally and historically constructed framework, one that is continuously reinterpreted and emotionally charged. The work asks which images of nature and world govern our perception today and how deeply these are shaped by rational-scientific models of order. This is not a rejection of that order, but an inquiry into another register of experience. The practice investigates the sensory, symbolic, and emotional dimension of nature as a culturally conditioned form of perception, asking what remains perceptible and imaginable beyond rational categories. Nature and world appear here as projection surfaces for human imagination, fears, longings, and the need for structure. Open, contradictory, alive. Forms and signs emerge that evoke archaic visual languages without referencing specific historical or cultural origins. The aesthetic draws equally from prehistoric and contemporary imagery, generating a hybrid perceptual space experienced as a speculative parallel world. A distinct temporality arises, neither past nor present, but an open in-between in which alternative conceptions of the world become imaginable. The choice of materials and techniques is no coincidence. Ancient methods such as incising into stone, embroidering, or inscribing directly into surfaces resist the ephemeral. They slow things down, locate, and make traces visible. Murals move beyond the art object and enter into dialogue with urban space and the parallel worlds of our infrastructure. Spaces that themselves become projection surfaces for human imagination. In this way, the practice of Marvin Daumüller articulates a contemporary possibility to understand nature and world as open fields of meaning, between imagination, perception, and the future, beyond rational order, always in the process of becoming.