Witness 176,8

2026
Mixed media ceramic installation


Testigo 176,8 is conceived as an ongoing experiment. It originates from a series of material tests and remains active within the exhibition space.

The installation brings together ceramic pieces of varying sizes, surfaces and textures, arranged within an open system that allows them to be touched, moved and reorganised. This activates a direct, physical relationship with the material. The supporting structure — a vertical board that suggests human scale and structural order — stands in tension with the organic vitality of the ceramic elements, attempting to organise a process that is inherently unpredictable.

Each piece results from a singular experiment using materials collected and processed by the artist. It is both deliberate and accidental — deliberate in its material and aesthetic planning, accidental in the presence of chance, variation and the inherent unpredictability of the materials. The work does not seek efficiency or systematisation, but an aesthetic randomness that emerges from the behaviour of the materials and the fire, through the sustained and direct engagement with matter.

The work exists in a state of transition. It makes visible processes that are experiential, experimental and temporal, placing direct interaction at its centre. With each intervention, a new variation is introduced, establishing a shared condition between the material and those who engage with it.

 
 
 

Details

  • The artwork can be understood as a tribute to experimentation.

  • It reveals the tension between the organic unpredictability of experimentation and an imposed structure.

  • This is a work intended to be touched. The pieces can be experienced, moved, and rearranged.

  • The ceramic elements are not conceived as “objects,” but as experiences (or witnesses) to the ongoing experiment.

  • The experiments arise from the desire to understand the materials that the artist has personally collected and processed. Because these materials are gathered directly, there is no prior formula or fixed recipe; experimentation becomes the only feasible way to approach their inner logic.

  • Each ceramic piece is unique, and the materials used in its surface are registered and catalogued.