This body of work is the outcome of my research on the harmonic patterns that emerge throughout anatomy and other natural forms. It developes on several parallel planes, drawing, etching, painting and sculpture. I experimented with different techniques in order to weave them together in a complex language, with both graphical and pictorial elements, as well as three-dimensional objects. It's my own way to understand and collect rare objects, phenomena and uncanny experiences through the creative process.
Anatomical configurations mirror the structures of plants, minerals and even landscapes. Through the inner architectures of matter, I find analogies in different beings, as one thing becomes another, and their meaning expands.
In Suddenly, Above, the fragile architecture of a cicada's wing dissolves into an anatomical landscape, dripping blood vessels in a sanguineous field. It fluctuates as a sudden event, an uncanny realisation. Stripped of their mechanical and functional meanings, natural objects deconstruct and connect to each other, they generate independent organisms, establish new narratives. The large cast of a kale leaf mirrors these organic forms, hinting at the morphologic correspondences that develop spontaneously in nature; as when the golden ratio returns in the structure of leaves, branches, bones, nerves, vessels, shells, crystallization, even orogeny and astrophysics.
Metamorphosis VIII and IX are built around the same core concept, although they rely even more closely on the relationship between mark and object. The entanglement of nerves, veins and tendons resonate in the bundles of roots, to the point where the objects become a physical extension of the paintings in the surrounding space. The calligraphic beauty of roots, and the vibrant surface of alluminum are pictorial elements. Clay, plaster and resin are pigments suspended in fluid, and therefore establish an interesting relationship with painting.