Pre-genesis: the sensation that precedes a genesis. The well-known theory of Horbiger, which attracts many followers, foresees that the earth and humanity are subjected to catastrophic cycles. In this scenario, another planet, an asteroid, a moon, or the tail of a comet, is thrown on earth causing a catastrophe that destroys and resets the world as we know it. This leads to the beginning of a new geological era where the few survivors are held to reproduce and repopulate the world.
I’m not interested in post-apocalyptic scenarios, but in that very short moment that anticipates the impact. That handful of endless seconds, where the fear of the end has already been faced, leaving no room for fantasy, narration, or regrets. Those instants when only an unknown reality prevails. A deafening noise that becomes aphonic. Information – mathematics, geometry, letters, nature, and chemistry – merges, losing its perceptible form, becoming pure flow.
I’m interested in traveling through that moment of pre-genesis when matter and forms are organizing themselves, building grids, structures, joints, and superimpositions.
Points, lines, surfaces, letters, numbers, and colors create a space of contemplation. A flow of experience in which to re-establish a reality devoid of narration and gossip, in which one can relax the mind and the body: a detox from the embarrassing amount of images and their normative and imitative sovereign power. Apocalypse leaves the way to rebirth.
The works in this exhibition underline the gesture of time that unsettles and confuses human narratives, resetting them, mixing them, and putting them back into play. As Macbeth says, at the end of his grand and ridiculous tragedy:
“Life’s but a walking shadow, a poor player
That struts and frets his hour upon the stage
And then is heard no more: it is a tale
Told by an idiot, full of sound and fury,
Yet in the interweaving of shapes and colors, like cells and matter, lies a dazzling and blinding truth.