A Thousand Pieces-

A Thousand Pieces is a story about writing, understood as an experimental process that wanes over time, fuses with life, and populates the text with hyperlinks; reading is conceived as an excavation in which the reader must adopt different active positions to unbury possible meanings from a work filled with layers, strata, quotes, and illustrations. In 2014, the chance to publish A Thousand Pieces online came about in a joint project with RV Studio. Similar to the originally published support on paper, textual strata are used to organize the different layers of text and image in a never-ending scroll down the webpage.

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The project consists of a publication and two sculptures: The Abyss and Leda and the Swan (Or the Impossibility of Beauty). As in the published work, the reliefs use the concept of strata to create superimpositions and crossings of meanings among diverse materials, texts, and colors. Fragments from song lyrics, images, other sculptures, constellations, and different texts ranging from poetry to philosophy, introduce us to pieces that presume the impossibility of originality through a cocktail of impossible referents.​

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In Leda and the Swan, the cold geometric design of an origami swan carved on white marble appears inside the image of Leda’s pink body from the sculpture by Auguste Clésinger, engraved on the latest generation, fluorescent-colored plexiglass. On these surfaces, different quotes from Yeats, Hilda Doolittle, and Rilke, who reinterpreted the myth in their time, seem to float on a clear acrylic sheet, mixing into each other, while a fragment of the song lyrics from Nirvana’s Rape Me, engraved on a mirror, provides the soundtrack for this reinterpretation of a classical myth.

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The Abyss refers to the term used by George Bataille to speak of death and solitude between individuals. According to him, this abyss is what separates us from each other, which we try to bridge and escape through the sex act. In this piece, a constellation engraved in black granite is in dialog with a marble slab bearing an inverted fragment from Frank Sinatra’s “Fly Me to the Moon”. Above them are erected two plexiglass plates in a fragile balance. They face the image of a skull with Bataille’s text written on an iridescent material that refracts different colors, giving the appearance of a hologram for its different immaterial reflections.