Archeology of a Liminal Space & Time 1, 3rd Generation Composition Series, Canvas + stones +
wood + acrylic paint, 52 x 61 in, 2020.

Sowing Seeds, 1st Generation Composition, 21 x 39 in, canvas + seeds + fabric + acrylic paint, 2020.

3rd Generation of Compositions

The four states of matter, branches, seeds, fabric, acrylic paint, and canvas on wood panel, 24 x 18 in, 2020.

2nd Generation of Compositions
Bird Nest, 2nd Generation Composition, Canvas + stones + wood + acrylic paint, 12 x 58 in, 2020.
Bird Nest, 2nd Generation Composition, Canvas + stones + wood + acrylic paint, 12 x 58 in, 2020.
Wasp Nest, 2nd Generation Composition, Canvas + stones + wood + acrylic paint, 12 x 58 in, 2020.
Wasp Nest, 2nd Generation Composition, Canvas + stones + wood + acrylic paint, 12 x 58 in, 2020.
1st Generation of Compositions
Bird Nest, 1st Generation Composition, Canvas + stones + wood + bird nest + acrylic paint, 12 x 21 in, 2020.
Bird Nest, 1st Generation Composition, Canvas + stones + wood + bird nest + acrylic paint, 12 x 21 in, 2020.
Wasp Nest, 1st Generation Composition, Canvas + stones + wood + wasp nest + acrylic paint, 12 x 21 in, 2020.
Wasp Nest, 1st Generation Composition, Canvas + stones + wood + wasp nest + acrylic paint, 12 x 21 in, 2020.
Gaia 1, 1st Generation Composition, Canvas + stones + wood + acrylic paint, 21 x 12 in, 2020.
Gaia 1, 1st Generation Composition, Canvas + stones + wood + acrylic paint, 21 x 12 in, 2020.
Gaia 2, 1st Generation Composition, Canvas + stones + wood + acrylic paint, 21 x 12 in, 2020.
Gaia 2, 1st Generation Composition, Canvas + stones + wood + acrylic paint, 21 x 12 in, 2020.
2nd Generation Units
Dot, 2nd Generation of Units, Canvas + stones + acrylic paint, 12 x 12 in, 2020.
Dot, 2nd Generation of Units, Canvas + stones + acrylic paint, 12 x 12 in, 2020.
Space, Dot, 2nd Generation of Units, Canvas + wood + acrylic paint, 12 x 12 in, 2020.
Space, Dot, 2nd Generation of Units, Canvas + wood + acrylic paint, 12 x 12 in, 2020.
1st Generation Units
A
A
E
E
G
G
L
L
M
M
N
N
O
O
R
R
S
S
T
T
U
U
W
W
Letters of the Alphabet, 1st Generation Units, canvas + stones + wood + acrylic paint, 7 x 7 in (each), 2020.
A Larger
A Larger
E Larger
E Larger
Letters of the Alphabet, 1st Generation Units, canvas + stones + wood + acrylic paint, 7 x 12 in (each), 2020.
Paragraph
Paragraph
Dot
Dot
Space 2
Space 2
Space 1
Space 1
Punctuation, 1st Generation Units, canvas + stones + wood + acrylic paint, 7 x 7 in (each), 2020.

Other Paragraph, 1st Generation Unit, canvas + stones + wood + acrylic paint, 12 x 12 in, 2020.

Plus
Plus
Minus
Minus
Polarities, 1st Generation Units, canvas + acrylic paint, 7 x 7 in (each), 2020.
Gaia
Gaia
Terra
Terra
Earth Fragments, 1st Generation Units, canvas + stones + wood + acrylic paint, 12 x 12 in (each), 2020.
Studies for Composition
Study 1
Study 1
Study 2
Study 2
Study 3
Study 3
Study 4
Study 4
Study 6
Study 6
Studies for Composition, Archeology series, work in progress, canvas + stones + wood + feathers + bird and wasp nests + acrylic paint, 52 x 61 in, 2020.
We are in a LIMINAL situation: the past will never come back and we do not know what the future will be.
Since the pandemic I left the city and came to live in the countryside.
Isolation has stimulated a profound reflection on the difficult times we were (and still are) going through, the suffering of so many people, and the increasing degradation of our natural resources.
A theory I read a while ago about the reasons that led prehistoric men to make paintings in the depths of caves, came to my mind and moved me. Prehistoric men believed that the Earth was the MOTHER of all living beings. The hidden spaces inside the caves would be like her womb. The animals they hunted for food were gestated there. In order to accelerate the birth of these creatures, they tried to identify them in the recesses and protrusions of the walls, detaching and painting them, thus bringing them to a concrete plane.
I found this theory very inspiring, and sensed a feeling of belonging, a great admiration and respect for our planet. I also felt a strong need of doing something through art, as a contribution to positively face the challenges we are dealing with now.
How to pay a tribute to Earth and ground in a world we no longer recognize?
I started collecting stones, branches, feathers, bones and other objects found in nature near me. They were sewed on canvas scraps to compose an alphabet, words and phrases in Morse code. All sewing was done with the canvas thread itself. I used Morse code during childhood; doing so in this project, brought me to my past. It was a way to anchor. Memories remind us of who we are, where we come from, and allow us to envision which direction we want to take.
The resulting work is a flag representing our home, GAIA. Those shards of the daily existence constitute an ARCHEOLOGY OF A LIMINAL SPACE & TIME.
Some additional thought:
Morse code can be seen as a precursor of the binary system. According to the philosopher Vilém Flusser, we have two types of media to transmit codes or messages: the linear one, in which the thought is expressed in text, and the one involving the surface, in which thoughts are expressed in images. Digital technology opened a new Age in which image and text are integrated, as image translated in a binary system becomes also text.  But we are still conditioned by the linear character of a narrative. It is necessary that the "thought-in-surface" incorporate the "thought-in-line". Only then will we be moving towards a new mental structure.
Creative process:
The ARCHEOLOGY OF A LIMINAL SPACE & TIME project is a work in progress.
I started cutting squares on canvas in sizes 4 x 4 inches, 4 x 9 in and 9 x 9 in. After painting them in white or black, I sewed stones, pieces of wood, and other found objects from nature. These squares correspond to the 1st generation units.
Some 4 x 4 in units were then sewed in 9 x 9 square canvas; those are the 2nd generation units.
I photographed them all.
After that I started joining unites to create the 1st generation and the 2nd generation of compositions.
Then I sewed these pieces into a large piece of canvas creating the 3rd generation of compositions.
Each step was photographed.
During the process, I was experimenting different compositions for the 3rd generation of compositions. Those are the Studies for composition.
Along the process, the first 3rd generation of composition, The ARCHEOLOGY OF A LIMINAL SPACE & TIME 1 came out.
The photos all refer to the same work. They are steps.
To continuing the process, I am redoing the pieces of all generations, as individual works. I am also producing a complete alphabet in Morse code and new pieces from all generations. The idea is to create a body of works that together will make an installation. This will be a 4th generation composition that will reach three-dimensionality.
The work as a hole will inhabit space.

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