Steel, cyanotype on Carrara marble, graphite and cotton stitching.
The original project was very ambitious: numerous figures inspired by the work of Pina Bausch, by that extraordinary idea of telling without showing, of letting nature complete the gesture. But after an honest discussion with the Litix team, I chose to modify it, to concentrate it. It was one of the best decisions of the residency: the reduction made everything more powerful. The final system blends marble, metal, fabric, and cyanotype in a language where absence becomes presence. The figures are never shown in their entirety. They are echoes, silhouettes, shadows fixed by sunlight. The very structure of the work works by subtraction: what is not seen weighs as much as what is seen, sometimes more. The words intertwine between pencil and engraving, between surface and depth. Some will disappear over time, consumed by light and air. Others will appear only years later, when the stone has decided to reveal them. The work does not end with me; it continues to hide and reveal at its own pace. A key element is the recycling of the marble: every fragment eliminated during the process, milling waste, and supporting pieces, was reincorporated into the final sculpture. Nothing is lost. Even the waste materials carry a story; they have already encountered the machine and the hands. Remaining in the work was their natural place.
