‘The Worm’s Shadow Theater’ 2025
Work created at Antony Gormley Residency. High House, Fondation Fondation.
Terracotta, pigment, pin, oak, cotton, mild steel, lights, sound.
Dimension of the installation on photograph App. 7m x 5m.
Conceived as a subterranean theater, the piece casts worms and other soil-dwelling creatures as performers in a succession of scenes revealed one by one by the movement of lights.
The clay sculptures are inspired by Minoan ritual objects of the late Bronze Age, elevating the fauna of the soil and the eye motif to a sacred status. The eye being a key symbol alluding both to the soil’s secret fauna and to the human gaze: bringing forward the subject of observation.
Each sculpture is staged in timber structures, referencing circus and Asian architecture, generating a ritualistic scenography. Small lights move, turn on and off within the installation, casting shifting shadows on the surrounding walls, revealing at times different acts of the theater taking place in the hidden depths of the soil.
Work created at Antony Gormley Residency. High House, Fondation Fondation.
Terracotta, pigment, pin, oak, cotton, mild steel, lights, sound.
Dimension of the installation on photograph App. 7m x 5m.
Conceived as a subterranean theater, the piece casts worms and other soil-dwelling creatures as performers in a succession of scenes revealed one by one by the movement of lights.
The clay sculptures are inspired by Minoan ritual objects of the late Bronze Age, elevating the fauna of the soil and the eye motif to a sacred status. The eye being a key symbol alluding both to the soil’s secret fauna and to the human gaze: bringing forward the subject of observation.
Each sculpture is staged in timber structures, referencing circus and Asian architecture, generating a ritualistic scenography. Small lights move, turn on and off within the installation, casting shifting shadows on the surrounding walls, revealing at times different acts of the theater taking place in the hidden depths of the soil.
‘The Invisible Theatre’, 2025
Series of drawings made during a residency at Joya: Arte +Ecologia/Air Residency in Andalousia in February 2025.
Brown ink on natural paper, 250 gr, 14cmx21cm.
Lately I carried on my obsession for what happens under our feet, what we too often see as dirt. But this discarded layer is actually the gold of our civilization, and we depend 100% on it, with food and oxygen being the most obvious examples. I love to squat and observe what is happening. If you have a microscope, it's Regent Street on a Friday before Christmas—every second, every day and night. All these lovely creatures are moving and transforming minerals and organic matter to make this gold—soil. I admire them so much that I created a whole new body of work about this restless micro-world which i love above all.
Series of drawings made during a residency at Joya: Arte +Ecologia/Air Residency in Andalousia in February 2025.
Brown ink on natural paper, 250 gr, 14cmx21cm.
Lately I carried on my obsession for what happens under our feet, what we too often see as dirt. But this discarded layer is actually the gold of our civilization, and we depend 100% on it, with food and oxygen being the most obvious examples. I love to squat and observe what is happening. If you have a microscope, it's Regent Street on a Friday before Christmas—every second, every day and night. All these lovely creatures are moving and transforming minerals and organic matter to make this gold—soil. I admire them so much that I created a whole new body of work about this restless micro-world which i love above all.
‘Erosion’, 2025
Series of photographs made in the Natural Park of Sierra María - Los Vélez in Andalusia at Joya:Arte+Ecologia residency.
Sculpture, glazed porcelain eyes .
Series of photographs made in the Natural Park of Sierra María - Los Vélez in Andalusia at Joya:Arte+Ecologia residency.
Sculpture, glazed porcelain eyes .
