Antimateria Antimatter)

I redesign objects even to the point of their disappearance. I redesign their shape and volume until they’re reduced to flat geometries measuring just a few millimeters of skin, and sometimes I do it simply because I don’t like the initial state of the object I’m pulverizing.

In a series of slow, repetitive steps, I move the material from one side to another, placing it on the wall and, in doing so, first saturating the porosity of the surface it hosts and then, layer after layer, I spray the metallic dust onto the wall until I obtain a smooth, compact surface.

I watch the material evaporate on one side and immediately reunite at the front, right where I spray it. Like a building tattoo, it embodies itself on the wall and becomes an inextricable part of the building. From that precise moment, a slow maturation of the work begins, manifested in the progressive, initially sudden, chromatic change due to the oxidation of the metal.