Variable dimensions;
wax, pigments, ceramic paste, plaster, cardboard, masking tape, wool, drawings on paper and tracing paper.
Consider the image of a stone: vulgar matter, weighty, undifferentiated and neglected. Here, the stone gains relevance because it is located within a territory that it is intended to represent. By tracing tangent coordinates, the stone and the territory are equivalent. Using a synecdoche, replace the territory with the stone: this series of explorations investigate the stone as if it were the territory.
As it is not possible to analyze the entire land in such a detail, the stone is taken as a reference and as an object of exhaustive study: the stone unfolds into a variety of formats.
The attempt to collect as much information as possible, as well as to preserve and analyze it with the greatest objectivity, resulted in representations of the stone where error prevails. Each mode of representation compromises the veracity of the form, presents deviation and contentiousness. The documentation of the stone is condemned to a perceptual game. Once this representational fragility was recognized, it became a tool. Erratic and uncontrollable methods were used, such as firing ceramics using a soenga, where it is not possible to precisely control the shades of black or subsequent effects acquired by the paste, and, among others, the use of methods such as rubbing (frottage), wich, despite providing an immediate record of the study object, through the direct mark of its texture and shape captured by a graphite bar on paper, it is prone to error. Properties of the stone were subverted, such as its weight, in the case of the wax version, for example, wich appears to be real, but is extremely light and fragile.
Sufficient perceptual mediums were gathered to create an artificial, scenographic stone, wich emphasizes the importance of the relationship between the parts and the whole.
