The image depicts the stage of the drying process of the sheets after exposure to atmospheric agents. The stones are used to retain water, thereby extending the drying time at those specific points. Furthermore, once removed, the stones leave a trace — a mark that establishes a relationship with the rest of the composition.
The image shows the inclination of the table, intentionally created by the artist to simulate the flow of water — a movement that almost evokes the dynamic of a waterfall. As visible within the composition, industrial objects have been introduced alongside natural elements, generating a dialogue between the two.
The image shows the pigment being deposited and transported by the flow of water on a slightly inclined surface.
The work was initially placed on unstable structures, which supported only the sides or corners of the sheet. Without a rigid surface underneath, the sheet responded to the gravitational pull of its own weight, creating natural deformations. The addition of a stone further accentuated this process, intensifying the tension and distortion produced by gravity. Water mixed with pigment was then poured onto the surface, increasing the gravitational force acting upon the sheet due to the added weight of the liquid. Given the instability of the structure, the work fell three times, leaving visible traces of its fall. For me, the work found its completion precisely in this — in the marks left by its own history, shaped by chance, gravity, and material fragility.
In this case, the structure supporting the sheet remained stable throughout the process. The stone, placed at the centre of the sheet, exerted a downward force, pushing the water and pigment towards the middle, where they gathered within a cylindrical section. The drying process was completed without the sheet falling or experiencing significant external interference. I chose to leave the paper in its deformed state, allowing the work to acquire a sculptural quality and a physical presence shaped by the process itself.
The sheet was placed on the fabric cover of a sofa, with stones positioned to apply localized pressure and introduce gravitational tension. Pigment was added along with water, creating a substantial pool that remained undisturbed for approximately three weeks. During this period, the pigment gradually settled, and the surrounding environment began to interact with the work. Notably, a small ecosystem formed around the sheet, including the presence of several ladybugs. Once the sheet was removed, the dried surface revealed layered traces of both material sedimentation and environmental interaction.
In this case, there is a change in the supporting structure: a rope, tied to an overhead handhold, horizontally anchors an industrial metal ring suspended downwards. From this ring hangs the sheet, with a stone placed at its centre, along with water and pigment. During the process, the work fell twice, leaving visible traces of the event — marks that became an integral part of the work’s narrative and material history.
In this case, the structure with the suspended hoop remained stable, allowing the work to dry undisturbed over time. Meanwhile, some wisteria petals fell into the water, subtly altering the surface and texture of the work — a natural intervention that became part of the final composition.
A square sheet was placed on the structure, containing a significant volume of water mixed with pigment. During the following week, the work was exposed to continuous rainfall. The structure remained stable until a particularly intense downpour caused it to collapse. The drying marks visible around the perimeter correspond to the gradual evaporation that occurred over the week, while the blue central area is the direct result of the fall — a concentration of pigment deposited upon impact.