The site-specific work, measuring 5×2.6 meters, takes the form of a "contemporary mosaic" that redefines the architectural space through the language of accumulation and creative recycling.
The geometric contrast, chromatic variety, and perceptual dynamism generated by the repetition of circular shapes form the core of this wall-mounted environmental installation. Composed of 37 dynamically distributed elements, the installation alternates circular structures of widely varying sizes, ranging from a mere 3 cm to large discs 70 cm in diameter. These concentric modules float across the white surface of the wall, giving life to a composition endowed with its own distinct rhythm.
The juxtaposition of warm and cool tones generates a sense of movement, in which the observer's perception continuously oscillates between the overall vision and the analysis of individual details.
Through a practice of selection and interlocking, Maria Halip reclaims post-consumer plastic material, rescuing it from the destructive flow of waste to elevate it to pure plastic pigment.
References to the chromatic vibration of classical mosaic are stripped of sacred figuration to embrace pure abstraction and the material of our time.
The constituent elements are not noble tesserae, but discarded fragments of our daily lives: caps, lids, plates, and industrial containers that, deprived of their original function, are reimagined as pure catalysts of color, light, and volume.
The observer is invited to a dual reading: first from afar, where the work presents itself as a single, imposing visual score evoking kinetic research and Op Art; then from up close, revealing its intimate and archaeological nature, inviting the viewer to recognize the memory of daily gestures crystallized into pure forms.
The installation transcends the boundaries of pure visual contemplation to embrace multisensoriality and synesthesia, through a profound contamination and hybridization of different expressive languages. Breaking down the barriers of traditional art viewing, the concentric discs are designed to be touched by the spectator: the plastic surface offers itself to tactile exploration, revealing the reliefs, joints, and textures of the material. This dimension is paired with an acoustic one: as the audience passes by, proximity sensors activate a dynamic sound montage featuring processed sounds, artificial and natural noises, birdsong, water droplets, gongs, and other sound effects that evoke the expansion of concentric circles.
In this sensory short-circuit, the act of seeing merges with hearing and touch, promoting an idea of art based on inclusion, capable of welcoming and speaking to different sensitivities and abilities. The movement and physical contact of the audience thus become the vital impulse that reactivates the material.
The overall impact is that of a vibrating structure—a memory of the object and a regeneration of aesthetics. This industrial and consumer material is transformed into a gateway to an interior and emotional landscap
