Exhibition Project — Central Work
ARCANA is an exhibition project structured around five elemental cycles: water, fire, earth, air, and ether.
These elements are not approached as illustrative symbols, but as active forces of transformation, traversing images, bodies, and perceptions.
The project marks a decisive shift in the work. While earlier research explored persistence and the memory of the image, ARCANA engages a more open and unstable process of transformation, where forms no longer remain fixed but change, pass through one another, and sometimes dissolve.
The female figure, central to the entire project, is neither a character nor an allegory. She functions as a threshold-body: a space of passage where matter, movement, and perception are reconfigured. Across the cycles, this figure moves through different states — emergence, confrontation, inscription, dispersion, and finally dissolution — without ever forming a linear narrative.
Equine figures appear as a transversal motif. Devoid of explicit mythological or narrative reference, they embody forces of movement, transition, and threshold. Their presence evolves throughout the journey, gradually fragmenting or disappearing in the final cycle, accompanying the very movement of transformation.
Exhibition Path
ARCANA is conceived as a cyclical, non-hierarchical journey, in which each element constitutes a specific perceptual experience:
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Water: emergence, fluidity, unstable appearance
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Fire: tension, confrontation, intensity
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Earth: inscription, density, grounding
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Air: dispersion, circulation, loss of form
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Ether: dissolution, erasure, passage
The path does not propose a closed conclusion. It invites the viewer to move through states, to experience gradual transformations — sometimes imperceptible — leaving space for silence, indeterminacy, and sensory experience.
Process and Media
The project mobilizes contemporary digital tools, including artificial intelligence systems, integrated as instruments of research, composition, and image transformation.
Technology is never presented as a subject or an effect, but as a means serving artistic intention. It recedes in favor of perceptual experience and a sensitive relationship to images.
The works are conceived for immersive presentation, adaptable to various exhibition formats: projections, digital installations, scenographic pathways, or modular dispositifs.
Audiences and Mediation
ARCANA is conceived to accommodate multiple levels of interpretation:
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a sensitive and immersive approach for the general public,
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a symbolic and formal reading,
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an educational dimension addressing notions of transformation, perception, and process.
The project lends itself to mediation activities such as guided tours, workshops, and discussion sessions, particularly aimed at school groups and university students.
Position within the Work
ARCANA constitutes the central project of the work.
It is part of a continuity with the Figures of Remanence ensemble, which sheds light on its visual and conceptual origins, while marking a shift in approach: from the suspended time of the image toward a visual language of becoming.
The exhibition imposes neither a narrative nor a single interpretation. It embraces a degree of silence and non-resolution, allowing viewers the freedom to enter the experience at their own pace.
