Screen-printing (CMYK) on porcelain, methacrylate, aluminium, rod brass, and wood
Installation dimensions: 28 x 157 x 31 cm
The installation vindicates the diversity of bodies and challenges conventional notions of imperfection. Its formal language originates from two cosmetic containers purchased in Asia, products intended to eliminate skin impurities. Nevertheless, by extracting the graphic information, the shapes are no longer distinctive of a specific place. Symbolically, this process evokes a universal desire to conform to beauty standards. To reinforce this idea, the raw materials of this work were sourced from both Asia and Europe. The original forms are recomposed to construct a new visual imaginary that foregrounds their aesthetic qualities, detached from their initial function as utilitarian containers. Throughout the creative process, certain imperfections are introduced, such as melted or altered glazes and contractions in an additional porcelain layer applied after the main forms are dried. This act invites the public to appreciate some non-conventional results.
The work is composed of three principal groups of pieces. From left to right, the screen-printed images progressively decompose, shedding information essential to their complete legibility. Through the removal of colour layers and fragments of the portraits, the images shift toward abstraction. A parallel process occurs in the textual elements, which similarly disintegrate and lose their original meaning. The text begins with the definition of the word hope extracted from the Cambridge Dictionary. However, by rearranging its words, the meaning is redirected and ultimately rendered incomprehensible. This manipulation of both text and image performs as a metaphor for the pursuit of idealised beauty, an aspiration that is often elusive and unclear, reflecting the frequently illogical nature of such ideals.
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