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UNTITLED
The tubular steel structures, evoking the characteristic linearity of modernism, converge with the frosted glass panels in a postmodern perceptual short circuit.
Through gradual opacity, the viewer is drawn into a constant oscillation between the visible and the invisible, subtly undermining the functional identity of these “chairs.” Beneath these panels, fragments
of the artist’s clothing and study objects partially surface, suspended in a dimension at once intimate and remote. This delicate threshold diverts attention from the tangible reality of the items placed in these
sculptural compositions, generating a genuine phenomenological tension: what appears familiar is simultaneously unclear or unrecognizable, transforming perception into an inherently interpretive act.
In this manner, the glass panes become liminal surfaces, where vision thickens and dissipates, leaving the viewer to waver between certainty and indeterminacy.
UNTITLED
The tubular steel structures, evoking the characteristic linearity of modernism, converge with the frosted glass panels in a postmodern perceptual short circuit.
Through gradual opacity, the viewer is drawn into a constant oscillation between the visible and the invisible, subtly undermining the functional identity of these “chairs.” Beneath these panels, fragments
of the artist’s clothing and study objects partially surface, suspended in a dimension at once intimate and remote. This delicate threshold diverts attention from the tangible reality of the items placed in these
sculptural compositions, generating a genuine phenomenological tension: what appears familiar is simultaneously unclear or unrecognizable, transforming perception into an inherently interpretive act.
In this manner, the glass panes become liminal surfaces, where vision thickens and dissipates, leaving the viewer to waver between certainty and indeterminacy.