-+
- +
Iron, hematite, magnets, iron grains,
ultramarine blue pigment, iron ore
80 m²
2025
To Carry, 16th Sharjah Biennial, United Arab Emirates
In the installation - +, I devoted my investigations to the affective qualities of matter, creating sculptures that replace welding — a gesture that ignites the meeting point of metal, melting it to create a definitive union — with magnets. Also made of iron, magnets form an ephemeral connection between ferrous metals, based on the forces of attraction between them. To construct these sculptures, I used a type of magnet commonly employed by metalworkers.
Iron is the sole material in the installation, yet it appears throughout the space in multiple forms: in iron ore, in hematite — which contains 70% iron and has a slight degree of magnetism — in the blue pigment, in the magnets, and in the iron grains. The sculptures are structured around the attraction and repulsion produced by ferrous materials. In this way, polarity becomes a means of reflecting on the movement of desire.
Through this work, I observe matter to understand how iron falls in love, how it draws close, pulls away, and resists — reflecting on the possibilities of creating structure from mineral desire.
Iron, hematite, magnets, iron grains,
ultramarine blue pigment, iron ore
80 m²
2025
To Carry, 16th Sharjah Biennial, United Arab Emirates
In the installation - +, I devoted my investigations to the affective qualities of matter, creating sculptures that replace welding — a gesture that ignites the meeting point of metal, melting it to create a definitive union — with magnets. Also made of iron, magnets form an ephemeral connection between ferrous metals, based on the forces of attraction between them. To construct these sculptures, I used a type of magnet commonly employed by metalworkers.
Iron is the sole material in the installation, yet it appears throughout the space in multiple forms: in iron ore, in hematite — which contains 70% iron and has a slight degree of magnetism — in the blue pigment, in the magnets, and in the iron grains. The sculptures are structured around the attraction and repulsion produced by ferrous materials. In this way, polarity becomes a means of reflecting on the movement of desire.
Through this work, I observe matter to understand how iron falls in love, how it draws close, pulls away, and resists — reflecting on the possibilities of creating structure from mineral desire.