Lorem Ipsum...The ten missing days from the universal calendar opened a fissure between the representation of time and the "Real" of time. The dead and the "immortals" meet as residues and names. We seek the truth in language but fail in the face of the contour of the Real. Every quest for the "world" relies on the signifying chain, inscribing itself within the symbolic order. Like the artist attempting to create this labyrinth of the impossibility of knowledge, resorting to perceptible materials such as sculpture, installation, photography, sound, and interactive sensors to sketch the contour of the unknowable black hole, referring to the "Event Horizon"—a term borrowed from astrophysics—to name this act. Does the name reveal a truth to which it claims to lead? The Lunar "Seas" like the Sea of Fertility are actually craters; Yukio Mishima reaches "emptiness" through "fertility." The Moon, a giant fossil dead for two billion years, haunts the Earth like a ghost, just as the photos of fossils suspended in the stairway silently contemplate the viewers, similar to the impossibility itself that perpetually lurks around us.
The Great Flood, 2022
I try to approach the impossibility of knowing the world through mythology, extinction species, scientific and historical narration from which the world is constructed. What we can grasp are the representations organized by humanity, but over time, the authenticity of their existence becomes impossible to recover. We know the world through the experiences and interpretations of others. Attempts to understand and define the origin of man and the origin of the world are doomed to fail. Therefore, the function of art is no longer to represent a vanished reality, but to represent the failing way of approaching the world. As Lacan points out, we have no direct access to the real; what we approach, through the function of the symbolic, are the contours of the real.
The real, like a hole, resists all forms of representation, reasoning, and logic.