Wooden planks stand vertically on a structure without anchors, without fixed points. A structure that can be adapted, moved, partially or completely eliminated without affecting the "terrazzo" floor.
Technical solution: a zig-zag pattern of steel strips, welded at 90 degrees with threaded inserts mounted at equal intervals.
Rectangular beechwood profiles are mounted on the threaded inserts, which, in turn, are attached to the back of the carved/painted boards.
After filling the central area of the room with zig-zag steel strips and preparing the structures for the hallway, the casting of each wooden actor in the main story began.
Without dimensional or chromatic rivalry, without predictible proximities, each object becomes a standalone surprise.
The installation is an assembly process that relates to the author's own aesthetic criteria.
An Ikebana-style installation.
Objects without anchors, without "roots" that sit on the cement surface without affecting it.
Ikebana doesn't have soil for plants to grow, but it has a support and an assembly method.
Support, assembly method, and a series of compositional criteria.
Ikebana of bawling wooden pins in the middle of the gallery.
Bawling pins arranged in accordance to chromatics, geometry, dimensions, and "character." Pins arranged in all sorts of ways, but not just anyway.
The bawling -pins-characters define a composition and are redefined by their various composition methods.
The installation is a dialogue between objects, a dialogue that is conditioned by the assembly system and the assembly criteria.
The white walls of the gallery and the continuously distributed light would have decreased the grouping effect.
Grey, instead of white and points of light instead of lines; both in the gallery and on the hallway.
We will not leave anything on the walls. No "paintings," no texts, nothing.
Only grey, everywhere.
In the gallery, 8 points of light, dark grey, and a central arrangement of colored bawling pins.