MUTATIS MUTANDIS is an ongoing artistic research project that understands landscape as a living body in continuous transformation. It began with a wound found in the bark of an oak tree in the EmpordĂ , which was photographed, enlarged, and transferred onto a monumental translucent textile.
Through sculpture, site-specific installation, performance, drawing, and moving image, the project explores the relationships between landscape, body, vulnerability, and resilience. Wind, light, material movement, and the presence of visitors activate each installation, allowing the work to change in response to its surroundings.
The video is not presented as documentation, but as a material presence—a skin made of light, sound, movement, and time. Images of body, textile, rock, landscape, and drawing overlap, allowing the original wound to migrate between different surfaces and states.
Developed across the EmpordĂ , India, Australia, and Mongolia, MUTATIS MUTANDIS evolves through displacement and adaptation, proposing an ecological practice based on attention, reciprocity, and sensitive engagement with place.
MUTATIS MUTANDIS — Textile Sculpture and Video Installation
The central installation of MUTATIS MUTANDIS brings together a monumental textile sculpture and a moving-image projection as two interdependent elements of the same work.
The textile originates from the enlarged image of a wound found in the bark of an oak tree in the EmpordĂ landscape. Printed onto a translucent fabric and suspended in space, this small mark is transformed into a large, permeable skin. Its folds, transparency, and subtle movement prevent it from behaving as a fixed sculptural object. Activated by air, light, and the movement of visitors, it continually changes its form and the way it occupies the space.
The video installation introduces body, duration, sound, and transformation. It shows a human figure alternately covered and revealed by the printed textile, fragments of translucent fabric moving across a rocky landscape, and a performative black drawing developing around the body. Through slow dissolves and superimpositions, skin, fabric, stone, landscape, and drawn marks temporarily exchange their visual and symbolic qualities.
The moving image is not documentation of the textile sculpture, but a second material presence—a skin made of light, movement, sound, and time. Projected onto and through the translucent fabric, the image becomes fragmented by its folds and may extend onto nearby neutral surfaces. The shadows of visitors can also enter the projection, temporarily placing their bodies within the visual relationship between landscape, wound, and transformation.
Presented together, the textile and video create an unstable perceptual field in which material and projected images continuously affect one another. The installation invites the viewer to move around it and experience the landscape not as an external representation, but as a vulnerable and resilient living body of which we are part.
