At the center of the composition, suspended between the two figures like a shared enigma, a stark, artificial, constructed white... Read More
At the center of the composition, suspended between the two figures like a shared enigma, a stark, artificial, constructed white geometric symbol dominates the pictorial space. It simultaneously evokes an architecture of power, a system of beliefs, an ideological structure. This is interference par excellence: no longer a diagonal band cutting through a single body, but a symbolic monolith interposing itself between human beings — dividing what should be united, codifying and hierarchizing what is simply life.
These are hands that ask, that question, that resist. They are the hands of all humanity confronting the systems it has itself built, and which now condition, divide and define it.
INTERFERENCE N°3 — THE DIRECTIVE speaks of humanity as a common ground — a space that exists prior to and beyond every boundary drawn by ideology, religion or ethnicity. It speaks of the necessity to recognize oneself in the other not despite differences, but through them. It addresses how the deepest interferences are not those acting upon the individual body, but those that insinuate themselves between bodies, between people, between peoples — separating what life, in its most elementary form, has already united.
Together, INTERFERENCE N°1, N°2 and N°3 form a triptych on the human condition: from individual origin to the erosion of time, leading to the collective challenge of inhabiting a common space where humanity — in its irreducible multiplicity — remains the sole absolute value.
