UNIDEE OPEN STUDIO, 26 November 2024

UNIDEE OPEN STUDIO
26 November 2024, h 4.30 pm
UNIDEE Project Space, Fondazione Pistoletto Cittadellarte, Biella

Chloé Jeanne
Karma Barnes
Mathilde Lauret
Reem Masri
Saviya Lopes

We are happy to present UNIDEE Open Studio, the public presentation of the five artists hosted at UNIDEE Residency Programs, the artistic residency programme of Fondazione Pistoletto Cittadellarte that since more than twenty-five years has welcomed international artists and researchers to spend periods of research and work in Biella.

The artists Chloé Jeanne (FR), Karma Barnes (NZ), Mathilde Lauret (RE), Reem Masri (PS), and Saviya Lopes (IN), will present their ongoing research projects they developed during their stay in Biella thanks to international partners, interacting with other researchers and artists, visiting the area and delving deeper into the contemporary Italian art scene.

The Indian artist Saviya Lopes has been selected for the residency in collaboration with Inlaks Shivdasani Foundation, and during the event she will introduce her project Of Bodies and Dead Machines, an exploration of the body as a living archive, domestic crafts as spaces of refuge, and the complex interplay of emotional labour within historical testimony.

Reem Masri, Palestinian artist hosted in residence thanks to the partnership with A.M. Qattan Foundation, presents her work that confronts the raw, unrelenting emotions of anger, grief, fear, and love — emotions that Palestinians have carried in their bones for generations.

Thanks to the Nouveau Grand Tour project, supported by Institut Français Italia, UNIDEE has hosted two French artists.
Chloé Jeanne will present her research project The body of the river. The artist conceives the Cervo river as an old woman dating back thousands of years and invites us to get closer to her material and immaterial body, and to create empathy with her.
Mathilde Lauret, artist from Reunion Island, presents her work In Search of Silences where she explores the poetry of quiet moments through the lens of deafness, raising awareness about ecology and humanity’s relationship with urban and natural soundscapes.

Karma Barnes, interdisciplinary artist from Aotearoa-New Zealand and a Third Paradise Ambassador, presents Everything is Made of Everything Else, an art research and installation project which explore themes of hope, compassion, and interdependence in response to climate change.

We thank the partners for the UNIDEE Research Residencies: Fondazione Compagnia di San Paolo, A.M. Qattan Foundation (Palestine), Inlaks Shivdasani Foundation (India), Institut Français Italia.

Reem Masri

My work confronts the raw, unrelenting emotions of anger, grief, fear, and love— emotions that, as Palestinians, we have carried in our bones for generations. These emotions have always been a part of us, but now, they are sharper, more urgent, more impossible to turn away from. For over a year, we have endured a brutal, unceasing genocide against our people—an atrocity that shows no signs of relenting. And yet, for the first time, the world is beginning to feel what we feel. The pain we have borne in isolation has now spread outward, and in this shared
moment of grief, we have become more exposed, more transparent in how we express our humanity. We live these emotions in the most personal of ways, each one of us embodying them, each one of us reflecting them back into the world.
Being far from my homeland has made it impossible to disconnect from the horror unfolding there. I cannot wall off what is happening; instead, I have become more raw, more unguarded. Every day here is an exploration, a constant awareness of the emotional weight I carry. I feel anger in the moments others might take for granted. I feel grief, a deep ache. I feel fear in sounds that seem mundane here, but in my country, they are harbingers of something else. And yet, even amidst this, there are moments of love—small, fragile connections that remind me of the shared humanity that binds us all.
We are all, in our own ways, shaped by a spectrum of emotions that reflect the full range of the human experience. These emotions, whether visible or hidden, hold us together in ways that defy explanation. The human experience, in all its depth and complexity, unfolds in a place I am still trying to understand—here, now, and in the return to my home land.
The act of repeatedly writing these words makes visible the ongoing emotional weight we carry. This repetition mirrors how emotions—though deeply personal—are cyclical, intertwining, and resurfacing throughout our lives.
This work connects the individual to the collective. These emotions are not only personal, but universal, reflecting shared struggles. Through repetition, the installation highlights how anger, grief, fear, and love shape us all, emphasizing the importance of solidarity.

Reem Masri is a Palestinian visual artist born in Jerusalem in 1991. Her work delves into the intricate relationships between land, memory, and identity, examining how natural landscapes shape our self-perception. Using a variety of mediums, including writing, painting, and installation, she creates immersive environments that reflect on personal and collective memories. Masri’s practice is deeply rooted in the Palestinian experience. Through her art, she encourages viewers to explore their own connections to land and identity, offering insights into
how the natural environment influences and is influenced by human emotions and memories. Her art invites contemplation on the individual and collective histories, highlighting the ways in which land and our emotional ties to it impact our sense of self and community.

Saviya Lopes
Of Bodies and Dead Machines

Of Bodies and Dead Machines is an exploration of material memory and the meanings inherent within everyday traces of touch and sight. It examines the body as a living archive, domestic crafts as spaces of refuge, and the complex interplay of emotional labour within historical testimony. These works in the open studio respond to research conducted in Biella’s textile wool mills and local domestic crafts, weaving together themes of labour, femininity, and resilience.
In the quiet corridor of a once thriving Trombetta wool mill, stands a desk knitted from yarn, a metaphor for the labour and care traditionally associated with domestic crafts. This tactile piece underscores the softness and fragility of materials often undervalued in industrial contexts. Resting atop the desk is a receipt of emotional labour symbolising the invisible, unquantifiable work that women contribute in both private and public spheres. The act of knitting the desk transforms what is usually a transactional object into a personal and poetic record of care.
Suspended from the ceiling in the corridor are ethereal worker suits stitched from translucent tulle, creating ghostly forms that hover in the air. These suits, delicate yet imposing, speak to the absence of bodies and the erasure of individual identities within industrial labour systems. They invite viewers to imagine the unseen hands that once animated textiles, drawing attention to the intimate connection between the human body and the tools of labour.
A single empty jar of wine stands quiet in the space, emphasising on wine-making as both a domestic craft and an act of celebration. The jar, emptied, yet rich with meaning, invites reflection on the process of nurturing and care that wine-making embodies. It serves as a metaphor for how small, intimate gestures of labour contribute to building community and preserving cultural heritage.
Accompanying these physical installations are photographic archives of women from Biella, serving as testimonies to the often-overlooked contributions of women in communities. These images try to bridge past and present, offering glimpses into the lives of women whose everyday work and resilience have shaped histories of care and nurturing. Together, the images and objects try to evoke a sense of reverence
for their legacy, while prompting questions about the ongoing narratives of labour and care.
The research tries to position domestic crafts not merely as utilitarian tasks but as acts of resistance and safe spaces for creativity, healing, and memory preservation. The knitted desk and receipt highlight how emotional labour often goes unnoticed yet forms the foundation of communal and familial bonds. The choice of tulle for the worker suits juxtaposes the softness of domesticity with the starkness of industrial
labour, creating a dialogue about the intersection of gendered work, materiality, and history.
Overall, Of Bodies and Dead Machines is an exploration of the traces left by women in the fabric of history - both literal and metaphorical. It is a space where the intimate and the industrial, the personal and the political, converge. By looking at the legacy of female relationships within textile history and labour, the quiet corridor invites visitors to reflect on the resilience rooted in acts of care and the stories woven into every stitch, thread, and gesture.

Saviya Lopes is a visual artist based in Vasai, India. Her practice explores cultural heritage through family archives and oral histories. Her works reinterprets history with a feminist lens, addressing themes of violence, heritage, and colonialism. Focused on emotional labour, protest, and identity, her work balances transparency with depth, examining femininity, tradition, and empowerment. Her work is informed by women’s labour and textile history, delves into the body’s societal protest and symbolic significance.
Lopes has showcased her work in numerous group exhibitions worldwide since 2015. Key exhibitions include Dakar Biennale 2016; The Showroom, London; Ireland Museum of Modern Art, Dublin; Foundation Fiminco, Paris and a co-curator for Kochi Students Biennale 2022-23. She is also the recipient of Inlaks - UNIDEE Award for International Artists’ Residency in Biella, Italy 2024.

Chloé Jeanne
The body of the river

The research project The body of the river aims to give a new perception of the Cervo, the torrent that runs alongside Cittadellarte. The artist sees it as an old woman dating back thousands of years. This old woman has stories to tell us, things to pass on. Dressed in the glittering powder that is mica, she wanders the land dancing and singing.
The artist then decided to take and borrow elements from the torrent: mica, a stratified mineral that reflects the light and, once in the water, raises the flow; plants that are an integral part of the landscape and the scent that also constitutes the identity of the Cervo; and water, that essential and elusive element. These three elements, which the artist borrows and gathers on her walks along the torrent, are used by human beings to care for their bodies: mica for cosmetics, water, which is vital, and medicinal and aromatic plants, for care and pleasure.
Through a wide range of artistic proposals, the artist invites us to experience this torrent in a different way, by approaching it in a tangible way. Through visual works reminiscent of organs, flesh and the skeleton; through smell, the sense that allows us to connect with others; through touch, which allows us to create a closeness and intimacy with things. It’s work that invites us to smell, feel, touch, observe and experience this torrent. Well aware of this anthropocentric stance, the artist is trying to give a kind of body to Cervo, because human beings have this unfortunate need to identify with others in order to understand them better.
In this way, the artist invites us to experiment with a new approach to Cervo, to get closer to her, to understand her better, and to create empathy. We need to get close enough to it to think about how we can take care of it, just as it takes care of us, to imagine a way of giving it back what we borrow from it, and to rethink our attitude to natural entities.

‘Le Chant de la rivière’ by Wendy Delorme
‘Le fleuve qui voulait écrire: les auditions du Parlement de Loire’ by Camille de Toledo

Chloé Jeanne (b. 1994) lives and works in Tours. After graduating with honours from EESAB Quimper in 2018, she undertook a post-graduate research course at ECOLAB (ESAD Orléans). She won the ‘Planète solidaire’ prize sponsored by Art of Change 21 and Ruinart. She has held residencies at the Casa de Velazquez in Madrid and the Fondation LAccolade in Paris. Her work has been shown in group exhibitions such as ‘Horizons Olfactif’, curated by Sandra Barré at the Espace Ecureuil in Toulouse, ‘CASA&CO#5 - Subterfugios de la naturaleza’ at the Casa de Velázquez, and her solo exhibition ‘Présence Sensible’ at the Château de Tours. The artist, familiar with exploring the living world and the silent organisms that make it up, is developing her research and creative work at the crossroads of art, science and design. By regularly summoning bio-materials or biological entities, she generates new forms, a singular plastic vocabulary that is sensitive and sensory, enabling her to construct new narratives.

Karma Barnes
Third Paradise Ambassador Australia/Aotearoa- New Zealand
Everything is Made of Everything Else

Everything is Made of Everything Else is an art research and installation project that engenders a transformative experience by exploring themes of hope, compassion, self-responsibility, and interdependence in the context of escalating climate change. It highlights how individuals, communities, and environments adapt to shifting climatic conditions, transforming adversity through determination, empathy, and collective resilience.
Grounded in the principles of the Third Paradise, the work interrogates humanity’s evolving relationship with nature and artifce, advocating for a balanced coexistence amid climatic challenges. Through site-specifc research and an immersive installation, it investigates the transformative power of adversity and interdependence, examining the interplay between resilience, personal accountability, and the broader social implications of interconnectedness.
This project builds upon the artist’s recent works, Co-lapses (2023–24), exhibited currently at the Arsenale Nord in Venice, and Compounded Caldera (2022). Compounded Caldera explores how catastrophic shifts in the physical environment simultaneously transform the inner emotional and psychological terrains of those impacted.
Extending this concept, Everything is Made of Everything Else refects on the cyclical nature of creation and destruction. Informed by the symbol of the Third Paradise, the work integrates these processes into a vision of transformation, resilience, and adaptation to climate adversity.

Karma Barnes, is an interdisciplinary artist from Tamaki Makaurau, Aotearoa-New Zealand, living and working on Bundjalung Country, Northern Rivers, Australia. Her artistic practice integrates site-responsive installations, painting, and participatory methods, with a primary focus on social practice. Over the past 15 years, Barnes has critically examined the relationship between people and the land, exhibiting her work extensively across Australasia, Europe, Asia, and the USA, and engaging over 15,000 participants in her collaborative art projects. Notable achievements include a 20-meter-long interactive installation at the MACRO Asilo Museum of Contemporary Art in Rome and recent acquisitions by the New Mexico State University Art Museum, USA marking her inaugural acquisition by a major art institution.

Mathilde Lauret
In Search of Silences

1. VIDEO INSTALLATION: A VIBRANT SILENCE (title: ephemeral)
In this installation, suspended video bubbles capture the invisible: landscapes that unfold and dissolve into the ether of time, a dance between the ephemeral and the still. Transparency becomes a tool for sensory exploration, where every detail of nature, like a fragile silence, presents itself to the eye while escaping full comprehension. The resonance of low frequencies, subtle and tactile, engages the body in an intimate experience of silence. This work unveils a world where the invisible becomes palpable, and where sound ecology invites a re-listening to the natural world in its fragility and beauty.
2. SOUND INSTALLATION: THE TOUCH OF SOUND (title : Futiles éléments)
Here, minimalism becomes a silent cry: two tactile devices vibrate and intertwine to evoke invisible soundscapes—sonic qualities that we do not hear but feel deeply. These vibrations, like murmurs of the world, break the barrier between auditory and tactile, inviting the body into the experience. The work does not seek to saturate the auditory space but to open a different listening experience, where silence becomes a resonance. It questions our relationship with nature and landscape, not through what we hear, but through what we feel.
3. TABLE: MEMORY OF THE INVISIBLE
The table, acting as a sensory laboratory, brings together fragments of memory and nature: texts, sculptures, natural samples. Each object becomes a bearer of silence, an echo of the past and a reminder of what escapes us in the rush of daily life. Photography, translucent forms, and organic elements merge to create a poetic archive, where the invisible becomes visible and is rediscovered. This is not a simple collection but a movement, a bridge between the past and present, prompting reflection on our relationship with the world and our collective memory.
4. PETALS: THE ORGAN OF SILENCE (title : the parasite flowers of silences)
The photographed petals may appear simple and organic, but they are much more than a natural form: they are metaphors for silence and the fragility of our environment. Through their transparency, they represent what eludes the eye, what remains invisible yet omnipresent. Their
form, which evokes both nature and artifice, invites us to rethink what we know of the organic world, breaking the boundaries between the real and the perceptible. They are witnesses to an imperceptible silence—the silence of the natural world we have lost or forgotten, yet continues to resonate within us.
5. OVERALL PRESENTATION: A POETIC EXPLORATION OF SILENCE AND LANDSCAPE
The presentation of these works embodies a sensitive exploration, where each piece becomes an intimate dialogue between silence, ecology, and sensory perception. The organic forms, invisible sounds, photographs, and sculptures do not simply serve as art objects but as carriers of a sensory memory. Each piece is a space for introspection, an invitation to reassess our relationship with the natural world and the sonic environment. Through transparency, vibration, and silence, these works encourage us to rethink our place in the world, opening new pathways for collective perception, highlighting what is often hidden or inaudible. These works do not aim to saturate the senses but to awaken a dormant world, offering a reflective space where silence and resonance form a whole, inviting everyone to reconnect with what is invisible and yet essential.

Mathilde Lauret, a visual artist from Reunion Island (DNSEP, 2020), bridges research and creation. Combining video, installations, text, and drawing, she merges silence with poetry. Deaf from birth, she sees silence as a tangible, poetic vibration, exploring social, ecological, and
perception themes.

The parasite flowers of Silences
This photographic installation invites the audience into a world where silence is not merely the absence of sound but a palpable presence captured through the lens. The organic forms—delicate petals, translucent shapes, and vibrant textures—become metaphors for the invisible and intangible qualities of silence.
Photography, as a medium, serves as a bridge between the seen and the unseen, freezing ephemeral moments into a visual memory of what cannot be heard but can be deeply felt.
The natural and organic appearance of the photographed petals, evoking forms like mushrooms or plants, is not simply aesthetic. These images transcend literal representations of nature, symbolizing fragility and transformation in the hidden landscapes around us. The translucency and vibration captured in these images evoke the imperceptible dimensions of silence, offering a reflection on ecological, social, and sensory fragility. The silence represented here dissolves before it is fully grasped, like fragments of time suspended in the space of memory.
The choice of minimalist forms and natural elements is a deliberate approach to evoke introspection and sensory engagement. By focusing on organic simplicity, the work draws attention to the subtle and often overlooked connections between perception, silence, and memory. Each photograph becomes a sensory laboratory where the invisible vibrations of silence—its ecological, emotional, and temporal echoes—are made tangible. Far from embellishing or idealizing nature, this work uses simplicity as an entry point for exploring complex relationships between humans and the natural world.
The decision to present only three images from a larger collection of twenty reinforces this introspective focus. Rather than overwhelming the viewer, this deliberate limitation allows each photograph to stand as a distinct moment of resonance and reflection. These three works form a visual trilogy, anchoring the experience in a concentrated exploration of the invisible dimensions of silence.
Beyond their visual impact, the images resonate with soundscapes, blending photography with an exploration of sound. Though not audible, these forms suggest silent reverberations, bridging the gap between the visual and auditory senses. The translucent petals become visual representations of vibrations and imperceptible movements, echoing the subtle dynamics of sound and silence in nature.
This work ultimately serves as a sensory archive, preserving fleeting moments of silence and offering them as spaces for reflection. The photographed petals are more than organic forms; they are visual metaphors for our relationship with the environment, memory, and the intangible. By focusing on the silence and the invisible, The Flowers of Silence invites us to reconsider what we often overlook in our daily lives and to reconnect with the fragility and impermanence of the world around us.

The Table
This installation transforms the table into a living archive and sensory laboratory.
By arranging a mixture of texts, images, sculptures, and drawings, it invites viewers to explore the connections between the visual, tactile, and conceptual realms.
Each object takes on a specific meaning, creating a dynamic interaction between art, the body, and the mind. Texts offer poetic and philosophical reflections, while sculptures and drawings challenge traditional boundaries and foster a dialogue between different artistic expressions.
The table also addresses broader social and ecological questions. By breaking down the separation between conceptual and tactile art, it encourages viewers to engage actively, seeking connections between the elements presented. This plural and inclusive approach allows each person to interpret and build their own narrative, enriching the collective experience of the work.
Memory plays a central role: the table becomes a space to archive sensory and emotional fragments, blending past and present to question what remains of ourselves in the world. It reflects on how knowledge and experience can be preserved and reactivated through artistic forms. By juxtaposing texts, images, and sculptures, the installation encourages viewers to engage with fragmented memories and explore their own connections to these sensory archives.
Although this work is not strictly auditory, it investigates the relationship between the visual and the sonic. By associating sculptural objects with written texts, it creates an interplay between silence, form, and resonance. Each object can evoke an invisible frequency or movement, inviting viewers to perceive these silent dynamics in their own way. This tacit resonance aligns with the study of sound art, which often explores how invisible vibrations and sounds influence perception.
Ultimately, this installation serves as a catalyst for social reflection. By opening a space for viewers to explore the invisible relationships between objects, ideas, and memories, it invites dialogue and introspection. The table becomes a platform for reimagining our connection to the world, inspiring thought about social dynamics, collective memory, and the complexities of human experience. In doing so, it makes a meaningful contribution to contemporary art as a tool for sensory and societal transformation.

Landscape and his poems
Transparency lies at the heart of my work, like water, PVC… It’s serving as a bridge between the visible and the invisible, and fostering a dialogue between text and image.
By layering transparent sheets with hand written text over printed landscape, I seek to create a conversation where the words interact with the visual, adding dept and meaning to what is seen.
Their transparency layers act as a metaphor for silence: a subtle, elusive silence that can be both perceivec and overlooked, much like the faint sounds and vibrations explored in my art. This interplay invites the viewer to engage in a multilayered experience, where the act of the reading the text and viewing the image becomes a form of visual listening.
Transparency transforms the relationship between text and image into a poetic exchange, where each element amplifies and complements the other.
Boeyond asthetics, this dialogue between text and image reflect my exploration of silence as a dynamic space, encouraging a rethinking of how we perceive and interact with the invisible vibrations that shapes our world.

Video and Sound Installation: An Immersion into Invisible Landscapes
This installation invites viewers to explore the invisible and the ephemeral through suspended video bubbles and low-frequency vibrations. The videos, created through macro-photography, unveil hidden textures and microscopic fragments of natural landscapes that escape the naked eye. These captured moments are suspended silences — fleeting, fragile, and constantly dissolving, offering a vision that transcends immediate reality. The slow crumbling and recombination of these landscapes create a translucent, shifting world, where time and space distort into poetic reflections.
Complementing these visuals are low-frequency vibrations that act as whispers, more felt than heard. Imperceptible to the human ear, these resonances reshape the surrounding space, becoming landscapes in their own right. They echo inner vibrations, blurring the boundaries between what is external and what is internal, and invite viewers to feel sound as a tactile experience that transforms their perception of time and space.
The captured landscapes span natural environments — forests, rivers, mountains — and subtle urbanscapes, incorporating distant hums and mechanical resonances that blend organically with nature. This juxtaposition explores the dialogue between the natural and constructed worlds, offering a soundscape that invites reflection on coexistence and ecological fragility.
This work acts as a sensory laboratory, where video and sound combine to uncover what is often invisible to perception. Landscapes captured on a macro scale — the texture of plants, the breath of a flower, the pulsation of a cell — reveal the intricate vibrancy of nature, urging viewers to reconsider their sensory relationship with the environment. The imperceptible movements and vibrations become metaphors for the delicate balance of ecosystems, reflecting an urgency to reconnect with a world increasingly overlooked in our daily lives.
The ecological message resonates throughout the installation. In a time of environmental crises often conveyed through stark data or dramatic imagery, this project takes a quieter, more introspective approach. By focusing on ephemeral movements and the subtle, fragile beauty of nature, it highlights what is disappearing or forgotten in our relationship with the environment. The fleeting visuals and vibrations prompt us to listen to a fragile landscape that we have become blind to, urging a renewed sensitivity and responsibility toward ecological
balance.
The choice of video as the primary medium allows for the manipulation of time, space, and movement, creating an immersive sensory experience. Video transforms these landscapes into living entities that metamorphose and integrate with sound to form a cohesive exploration of the invisible. The slow evolution of the images mirrors the ever-changing nature of the environment, while the low frequency vibrations add a tactile dimension, evoking the movements of air, earth, and water that shape our world beyond conscious awareness.
In its simplicity, this installation bridges the visible and the invisible, the audible and the tactile, immersing viewers in landscapes that transcend beauty to uncover subtle sensory realities and ecological tensions. It invites introspection, offering a profound and poetic exploration of our place within a fragile and interconnected world.

Sound Installation: Exploring Perception Through Minimalism and Vibration
This project delves into sound research and tactile perception, exploring their implications on memory, social dynamics, and ecological awareness. The minimalist approach — utilizing only two tactile sound devices — reflects a deliberate reduction to focus on the essential: the resonance of sound and vibration as felt through the body. This reduction is not simplification but an invitation to experience sound beyond the auditory, fostering a deep, introspective engagement with each frequency and vibration. The tactile devices transform sound into physical sensations, enabling a visceral exploration of vibrophony, where sound is not only heard but felt. By engaging the body directly, this installation redefines our sensory relationship with sound and invites us to rediscover unconscious sensory territories often overlooked in modern sensory overload.
The chosen soundscapes encompass both natural and urban environments. While natural landscapes like forests, rivers, and mountains dominate, urbanscapes — subtle yet significant — emerge as contrasting sound elements. These urban sounds, including distant hums, mechanical resonances, and muted city noises, punctuate the organic soundscapes, creating a dialogue between the natural and the constructed.
The juxtaposition of these sound worlds reflects the interplay between nature and urbanization, questioning how these environments coexist and influence one another. These sounds are not presented as mere binaries but as interconnected layers, each vibrating and blending into the other.
The reconfiguration of these soundscapes into tactile vibrations invites the audience to feel rather than merely hear them, revealing what is often invisible or inaudible. The disruptive elements within these soundscapes — from urban mechanical frequencies to altered natural sounds — serve as metaphors for the disturbances shaping our environments. These vibrations provoke reflection on how human activity and ecological forces intersect, reinterpreting what we perceive as harmonious or disruptive.
Memory plays a vital role, as the installation activates a sensory archive through its vibrant soundscapes and tactile resonances. Each vibration becomes a fragment of mental and emotional landscapes, connecting us to buried memories of natural, urban, and social environments. This is not about preserving the past in static forms but about reactivating sensory memory to reconnect with the world’s intricate relationships. The installation transforms sound into living material, creating a collective sonic memory that invites reflection on how vibrations, sounds, and bodies intertwine in shaping our perception of the world.
The number two is significant in this work, symbolizing duality, balance, and interaction. By limiting the installation to two tactile sound devices, the project emphasizes the interplay between opposites — light and shadow, sound and silence, natural and urban, tactile and auditory — and highlights the importance of harmony in sensory perception. These two devices interact dynamically, forming a dialogue where each vibration complements the other, offering a concentrated and balanced sensory experience. This minimalist duo also evokes concepts of connection and complementarity, underscoring how seemingly opposite elements coexist and resonate together.
The work invites reflection on silence as a space for contemplation and transformation. It investigates natural, urban, and bodily silences, exposing their profound potential to foster introspection and highlight unseen dynamics in our environment. By reimagining silences as spaces of resonance and reflection, the installation prompts a reexamination of ecological and social imbalances, opening the door to a more conscious and connected way of experiencing the world.
This project aligns with a broader commitment to fostering social and ecological transformation. By interrogating the intersections of sensory perception, ecological awareness, and social engagement, the installation pushes the boundaries of contemporary sound art. It transforms silences, vibrations, and tactile resonances into tools for rethinking our relationship with nature, urban spaces, and ourselves. Through its minimalist yet profound approach, this installation offers a unique opportunity to reflect on the urgent questions of our time and the sensory possibilities of art as a means of collective transformation.