Symbolic Journey unfolds as a journey through the languages that have shaped modern and contemporary sculpture.
Its point of departure is a constant figure — the fish — which, throughout the passage, moves through different modes of artistic thought, adopting new formal, material and conceptual conditions at each station.
More than illustrating a succession of styles, the project proposes an investigation into the mutation of a single form. The fish ceases to be merely a recognisable image and becomes, depending on the moment, body, structure, fragment, gesture, object, residue, idea or territory. What changes is not only its appearance, but also its status within the work and its relationship to the world.
Throughout the journey, the project passes through the moment when art ceases to depend on form and opens itself to the idea, embracing multiple ways of understanding sculpture.
Each piece enters into dialogue with a different artistic language, not through imitation but through sculptural reinterpretation. In this way, the journey does not reconstruct an academic history of art, but unfolds as a personal and critical drift through shifting ways of seeing, representing and thinking form.
As the journey progresses, the fish moves from the realm of nature towards increasingly complex systems of perception, meaning and cultural construction. In some works it appears as a trace or a remainder; in others it disappears as a figure in order to become message, territorial tension or ecological reflection. In this process, sculpture ceases to assert itself solely as an object and begins to operate as thought, experience and reflection on the present.
At its final stage, form no longer seeks to represent or express, but to operate within systems of attraction and perception.
Symbolic Journey is not a chronology.
It is the logbook of a mutation.
Longbook of a Mutation
It is a working space.
Here, the forms of the twentieth century are not simply arranged, but reactivated through my own time and through my own hands.
It moves through it.
It changes.
It adapts.
It remains
in transformation.
I do not try to organise a line,
I simply activate relationships.
Forms here are not arranged in time:
they are held in tension with one another.
I gather what enters into dialogue
with my way of thinking and working with matter.
I do not seek conclusions.
I work in the open.
Here, the pieces are not exhibited:
they are tested.
Some fail.
Others endure.
All remain in process.
It moves through the century,
changing without ceasing to be.
Nothing begins from zero.
Everything mutates.