Wood matter explores the wound as an experience of transformation and regeneration. The work approaches the body as vulnerable, mutable matter, capable of retaining the traces of what has affected it while reorganising itself in order to continue.
The soft white volumes suggest an organic, indeterminate corporeality. Bandages, gauze, mesh and cords compress, support and envelop the form, creating a tension between fragility and resistance, containment and openness. These elements evoke care and repair, while also making visible the pressure exerted upon the material. The red cord runs across the surface like an inner presence emerging outward, recalling blood, tissue and the bonds that hold a body together.
The scar occupies a central place in this investigation. It does not restore matter to its previous state, but gives rise to a new configuration. It is an inscription of time and memory: evidence that something has passed through the body, transformed it and remains within it. Healing does not mean erasing the wound or recovering an intact form, but incorporating what has been lived and moving forward from that alteration.
In Wood matter, every affected body retains the capacity to scar, heal and continue transforming. The work inhabits the interval between vulnerability and persistence, where matter recomposes itself without concealing its marks. What has wounded it thus becomes part of a new form of existence.
The piece resonates with an artistic universe in which bodies are not closed or stable structures, but sensitive forms of matter exposed to forces that pass through them, alter them and leave a memory behind. Transformation does not erase what came before; it holds it within. Wood matter therefore proposes regeneration as the capacity to continue without forgetting what has affected us.
Wood Matter is an organic configured sculpture, constructed through the accumulation of soft, white, irregular volumes that overlap, fold, and compress against one another. Red ropes run across the surface, connecting the different forms and creating a system of knots and tensions that supports and holds the structure together.
Gauze, bandages, and fragments of grey mesh partially envelop the piece, alternating exposed areas with others that are contained or protected. The combination of padded surfaces, open-weave fabrics, and tensioned elements creates contrasts of texture, density, and transparency. The ropes introduce vertical and diagonal lines that traverse the composition and heighten the sense of internal pressure.
