Installation shot
Installation shot
'Untitled' (2026) Pool Dividers.
'The Devil in his Youth' (2026) Artists shoes, Shell, Candle, Tacks.
'Untitled' (2026) Gesso Board, Spray paint, Salt, Amonia.
Installation shot
'Untitled' (2026) Spray Paint, Rock.
'Untitled' (2026) Spray Paint, Rock, Graphite.
'Untitled' (2026) Foam, Plaster, Salt, graphite.
'Untitled' (2026) Leaf Rattle
'Untitled' (2026) Institutional mat, lost tennis balls.
'Untitled' (2026) Plaster, graphite.
'Untitled' (2026) Silk.
'Untitled' (2026) Aluminium, Spray Paint.
'Untitled' (2026) Aluminium, Spray Paint.
'Untitled' (2026) Aluminium, Spray Paint.
'Untitled' (2026) Aluminium, Spray Paint.
'Untitled' (2026) Aluminium, Spray Paint.
'Untitled' (2026) Sound insulation boards, salt residue.
'Untitled' (2026) Sound insulation boards, salt residue.
'Untitled' (2026) Sound insulation boards, salt residue.
'Untitled' (2026) Foam, salt, water colour.
'Untitled' (2026) Plaster, Salt, Graphite dust.
'Untitled' (2026) Plaster, Graphite dust.
'Rurrenabaque Window' (2026) Aluminium, Spray Paint.
'Untitled' (2026) Marble, Spray Paint, Plaster.
'Untitled' (2026) MDF Board, Graphite Powder, Marble, Shelf.
'Untitled' (2026) Plaster, Salt, Graphite dust.
'Untitled' (2026) MDF, Gesso, Spraypaint.
'Untitled' (2026) Marble, Lemon, Diabond, Spraypaint.
'Untitled' (Detail) (2026) Marble, , Diabond, Spraypaint.
'Untitled' (Detail) (2026) Lemon.
'Untitled' (2026) Silk.
'Untitled' (2026) Foam.
‘Under the shade of the Yopo Tree’ 2026. Various Dimensions.
Under the Shade of the Yopo Tree brings together a constellation of objects operating across incompatible time scales: geological, domestic, institutional, organic and psychic. A family carpet from the artists flat is presented as a stage, a ground that once absorbed the repetition of language, gesture and behaviour. Removed from its interior setting, it becomes a site of sedimented presence, a surface marked not visibly but through duration. Across this ground, materials under different pressures of time coexist. Marble and metal carry geological compression. A marble slab and a lemon are etched with the same pattern rendering them visually equivalent while materially distinct. The shared motif collapses mineral permanence and organic perishability into a common surface logic, yet their temporalities diverge. The marble endures. The lemon moves visibly toward rot. Pattern becomes a means of levelling matter while exposing duration. Salt geometries derived from the Salar de Uyuni (Bolivia) trace evaporative landscapes and extraction fields, their hexagonal crusts formed through depletion and recurrence. Lost tennis balls and suspended swimming lane dividers introduce institutional time, structures designed to regulate repetition now rendered inactive. Casts of the interior cavities of speakers solidify the hidden architecture that shapes projection, presenting resonance as fossilised void. Above, a gong resonates intermittently without visible strike. Its vibration blooms, decays and returns to near silence, enacting a cycle of excitation and dissolution. Without illustration or declaration, the work stages a quiet convergence of domestic interior and planetary extraction, organic decay and geological duration, resonance and entropy. Standing within the space, the viewer occupies a field where time is layered rather than linear, where permanence reveals fragility and repetition becomes both imprint and release.