Pictorial installation investigating the dematerialization of painting through translucent surfaces activated by natural light. The work constructs a variable perceptual field where the image transforms according to time, light intensity, and the viewer's position.
CONCEPT AND DEVICE
Latent Glacier is a pictorial installation that investigates painting as a growing matter, traversed by light and subjected to a state of constant pressure. The work does not represent a glacier or its melting. It proposes the experience of its interior: a space where ice is not static, but moves, deforms, and vibrates in a continuous process of transformation.
The painting sheets are suspended from the ceiling by a system of curved lines that build an enveloping spatiality. Each sheet, worked at body scale, functions as a unit of matter that, when articulated with others, forms a larger system. The painting ceases to be a surface to become an environment.
The viewer enters a structure evoking a growing ice cave, where painting is perceived as a living, expanding mass.
SCALE, BODY, AND SYSTEM
The work is developed from canvas sheets of approximately 3 x 7 meters, corresponding to the physical reach of the body in the pictorial process.
These units articulate with each other, generating larger-scale surfaces that expand in space. The final dimension is not fixed: it is defined in relation to the assembly, the space, and the light.
ASSEMBLY AND SPATIAL DEVICE
The installation is organized in direct relation to the natural light of the space, considering its entry from the west and its variation throughout the day. The sheets are suspended by a system of curved lines that configure an enveloping path, referencing the geometry of ice under pressure.
The path is not linear. The viewer traverses the work, perceiving constant variations in depth, transparency, and color as the surfaces fold and shift.
MATTER, LIGHT, AND DEMATERIALIZATION
Dematerialization occurs through the transformation of matter into an unstable state. The painting is worked in oil in layers that alternate between openness and density. In the upper areas, the matter becomes porous and allows light to pass through, generating effects of incandescence.
In the depths, the painting densifies into blue tones that absorb light. The relationship between these states is not fixed; as natural light changes, the layers activate differently. The work is not static: it is a system in constant mutation.
PERCEPTION AND EXPERIENCE
The viewer does not observe a stable image but enters a transforming perceptual field. The movement of the body modifies the reading: layers misalign, depth changes, and the image fragments. The work is not contemplated: it is traversed.
"It is not the glacier that melts: it is the glacier that grows."
"A growing ice cave."
"Painting does not represent ice: it behaves as matter in transformation."