Collective exhibition Giallo
Casa do Corim
(Maia, Águas Santas, Porto, Portugal)
Jun 16 - Sep 30, 2025
This installation, composed of glass and moss, employs a hybrid technique that combines linocut printmaking with glass (image transported using kaolin powder). The method itself serves as a metaphor for the metamorphosis of memories, involving shifts between distinct materials, densities, and temperatures. The result is eighteen transparent glass panels with the motives of the plants described in the interview, collectively reminiscent of a stained-glass. However, this is a quite unorthodox stained glass: it is semi-transparent, contains no colour, and instead captures and refracts the light and colours of its surroundings. It is held by transparent acrylic structures, enclosing elements of the installation like green moss, white light boxes illuminating a few glass pieces, and glass tiles itself. Some are placed inside, some outside, creating a game of distance and of proximity. Resembling the nature of Oblivion, it keeps some moments illuminated, some enclosed, some in natural shape (moss), some artificial (illumination inside the light boxes). It’s also about the contrast between two distant materials – an actual plant: green moss, fuzzy, green, alive, soft to the touch, fragile; and glass – hard, solid, cold, fragile in a different way, colourless, as a strange chameleon catching and reflecting the colour of its surroundings. The background is a site-specific rectangle of 16th-century tiles of Casa do Corim, a symbolic recollection of the past glory of the house, enclosed in the middle of the entrance hall and surrounded by recent white tiling reminiscent of the slightly faceless 90s interior style. A little island of material memory, in a chess pattern composed of magnificent quality marble, makes a perfect scenery for the first Gardens of Oblivion installation, marking the beginning of the journey in this unusual cartography.
