This project consists of creating a group of glycerine volumes. It intends to explore questions of light and colour through the superposition and accumulation of its material. It also deals with spatial composition, notions of lightness, presence-absence, and the passing/ holding of time. Through the presence of this work, I am interested in exploring sensations, and the relationship with the observer’s body, as well as giving space to create atmospheres and/or modify ambiances. In essence, I aim to explore themes that have consistently surfaced in my recent projects—light, colour, weight, material appearance, the absence of texture, or indirect gestures (relying on casting). The result is a group of minimal objects in an irreducible or limited state. With this project, I intend to explore sensations of emptiness, lightness, and fluidity.
The absence of surface brightness suggests questions about form boundaries: Where does the object start and end? Where does the material’s body begin? How does light interact with the material, altering our perception? How does an object establish distinct boundaries through material accumulation and colour superposition? How does a viewer react to an immaterial substance suspended in space, consisting solely of suspended colour?
Intrinsic to my work, these questions about limits, both literal and abstract, reflect the unbounded nature of the world around us. These boundaries, often constructed by humans as reference points, guide us through the void, a concept especially relevant in the drawing field, where delineating lines and establishing boundaries pose challenges. Where does the perceiving and seeing body end, and where does the observed body begin?
These questions lead to a contemplation of water’s fluid nature, an expansive, substantial entity with often unnoticed characteristics — colour, taste, and the need for containment in empty moulds. What happens when this mould vanishes, leaving the material suspended in space? It brings together two elements—water and air—in conflict and cooperation.
I envision a group of volumes that serves as punctuation and demarcation of space, playing with concepts of fullness/emptiness, balance among elements, and the airy interplay of colour and space. How much breathing room do these pieces require to maintain their integrity? Which colours can coexist harmoniously, and which must be kept apart? Composition holds paramount importance in this project.
