The marbles are quiet indicators of the passage of time and place the viewer in front of a history that appears sluggishly inert and stable as the rock itself. The stratified structure of the stones - composed by physical-relational layers - portrays both the gradual passage of time and the discontinuity planetary history, an a-lineal discursive space where human action over matter is merely an event.

In ‘Macelos I, II and III’ a series of collages on found bookplates are placed in rough vertical cuts in the stones. Situated in interstitial spaces, the collages displayed within these works are partially exposed and partially covered and depict deserted territories that could have been the original sites of these sedimentary formations.  As a result the stones refer to the image they hold, and simultaneously confront the image with reality.


Macelo 1. Marble, glass, collage. 2012



Macelo 2. Marble, glass, collage. 2012



Macelo 3. Marble, glass, collage. 2012


Rotated Slabs. Marble, glass, collage. 2012


The layered composition of the stones becomes more evident in ‘Notas de un viajero memorioso’ where the heavy slab has been cut to the vein showing the different colorations of each stratum. A faux finished mineral paper covers part of the marble surface reminding us of the confrontation between representation and materiality in these sculptural works. Among the different elements displayed on the table, a collage on an open book depicts a rocky landscape composed by several fragments of found photographs. This image rests on top of the other pages, which have been glued together, compressing them to emphasize the capacity of an image as a sufficient carrier of knowledge that has replaced text in order to tell an imbricate story.



Anotaciones de un viajero memorioso (Low slab).

Marble, mineral paper, books, collage. 2012