My work, generated using the principles of autoperformance, always relates to myself: my face as an image in the space, my body as physical architecture in the space.
During its design and construction process, the sculpture and spatial installation Time Anchor, realized in chrome stainless steel, outlined my body in a seated position. In the process of bending and twisting, which represented a continual struggle to balance stability (by increasing the material's thickness) with elasticity (by decreasing the material's thickness), the steel band was continually shaped around my body, giving rise in steps to the final form. Although it is seemingly light and supple, this form – like living bodies in general – stands under continual tension.
The material was connected using two rivet seams, formally accentuating its dynamism and making more apparent its second meaning as a boat, bottomless and adrift in undefined space-time, charting its own course ad absurdum.
In Palazzo Bembo the Time Anchor lifts from the floor, entering the field of movement. Like an anchor about to be set, it swings in the air, even moving a little when there is a breath of wind, creating reflections that ingress on the space. The finiteness (of space) and infiniteness (of time?) touch. Unreadably, the Time Anchor determines the kairos, the quality of time, in interplay with the light – and at times with a body or a face, which it, in accordance with its geometric form, the Möbius strip, blends back into itself.