“Empty is shape”, already a concept in ancient Japanese philosophies, becomes one of the key elements of the work, which... Read More
“Empty is shape”, already a concept in ancient Japanese philosophies, becomes one of the key elements of the work, which remains suspended between presence and absence, between present and past.
The body is reduced to fragile fragments of roughly shaped clay, from which thin flowers emerge, symbolising the blooming of life.
The elements seem to be floating with no particular order, as a chaotic whole, but when the light shatters against them, a timid silhouette is revealed, hanging between becoming and disintegrating, impalpable but present; from the apparent initial chaos of a symbolic universe, we go towards a new shape, more neat and harmonic, which holds in itself the memory of what originated it, but at the same time it detaches from it, changing its physiognomy.
There are two sides to this work: the fragments of matter trying to unite in order to give life to a new entity, and ,at the opposite, the same fragments disintegrate to their primordial form, trying to get back to the same cyclic mechanisms that regulate the universe.
A territory of everlasting change, where its own history combines with the cycle of life.
