The three pyramids serve as repeated elements and patterns, one decreasing in size compared to the others. The work is based on incorporating ceramics into unusual architectural contexts and creating biomorphic shapes that, while abstract, evoke vivid forms such as growing organisms.
Their straightforward design contrasts with the spiritual significance of the pyramids, which glorifies life after death. They are meant to be used as simple decorative geometric shapes. The inside surfaces of the wooden pyramids act as mirrors for the sculpture displayed on only one of the arms. They are designed to give the impression of deception because they are flat surfaces resembling mirrors but do not provide reflection. These add another dimension to the story by acting as a magnifying glass for specific patterns in the sculpture, just as a mirror never reflects its entire surroundings.
The ceramics are made as authentic marks of action; they are purely abstract but evoke lichens and fungus that grow uncontrollably on various surfaces, thus their biomorphic shapes. Despite their atypical appearance, they convey a sense of continuity, fragility, and intimacy. The spheres inside the pyramids – an addition of turning clay, a soft material, into a solid imperfect shape – promote the notions of infinity and mobility. The way they are suspended from the pyramids with delicate clear thread adds a performative quality. They serve as a performance, highlighting the theatrical element of the sculptures. The spheres can be put into motion to provide the false appearance of limitless movement in a space-constrained by the wooden framework, in contrast to the work’s immutability.
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