(2017)
In this series I turn to the PAMM museum store (Miami), as a supplier of materials for my work. Using two types of rice paper, one translucent and one matte black, I build personal approaches to the Yin-Yang symbol as an origami, to then present them encapsulated with a support that runs perpendicular to the wall, thus allowing the possibility of contemplating both sides of the work. The impossibility of seeing the work in its entirety, is related to the design of Zen gardens, such as that of Ryōan-ji, Kyoto 15th century, where the location of the observer does not matter, it is not possible to perceive all the stones at once in unison.
The intention is to create a vacuum in relation to the totality of the contemplative experience.
In spite of granting the observer more than one point of view option, the possibility of a complete vision is subtracted.
(5” x 5 1/2” x 2” each piece; Black Rice Paper, White Rice Paper, Ink, Methacrylate, 2017) (Installation, Dimensions Variable)