AWAKENING

Awakening is situated in the world of action, the plane of what is manifested: that which has acquired body, form, and matter. The composition is organized around a black core from which a network of connections extends toward a periphery saturated with bodies, architectures, objects, and signs. In contrast to the proliferation of the visible, the center remains dark, concentrated, almost impenetrable.

The work brings together different ways of questioning reality and knowledge. The myth of the cave coexists with the birth of artificial intelligence; doors open up possibilities of passage, while the accumulation of images also evokes the distractions that Teresa of Ávila recognizes along the path toward her Interior Castle. The feminine and the masculine, the positive and the negative, appear as forces in tension within a single order.

At the center, darkness does not represent an absence. As in the Dark Night of Saint John of the Cross, it can be a passage: the moment when what is known ceases to be sufficient and another form of perception begins.

Awakening thus begins from a paradox: the first movement toward the light takes place in the darkness.