Sometimes it is necessary to pause. To carelessly contemplate what surrounds us so that amazement can arise and take care of us. In the context of contemporary art, this can imply going against the stream or resuming and exploring forgotten, dormant paths, which are not part of the “grand narratives” (the grand narratives which have failed alongside modernism, which are being replaced by other narratives, which were born from the flaws of the first, and which are however increasingly tending towards homogenisation and saturation that nullify the differences they claimed at the beginning), not subjected to the Zeitgeist, which constitute themselves as other ways of experimentation. These often come from a force which we could call interior, although in it are implicated forces that gravitate towards an exterior of shapeless, permeable, and tumultuous contours, such as those that define our present. Sometimes it is also necessary to destroy the very notion of the present and reinscribe ourselves in cyclical time, in the time of the eternal return, in the virtual past, as Bergson dictated time, even if it is already unanimously accepted that our time has long ceased to be the linear teleologic vision of human progress, to be understood from multi-directional perspectives, as Braidotti has been defending.
In the foreground - this utopian plane - the aim was to think about the matter-affect relationship, appropriating the theory of individuation and the modulation principle of Gilbert Simondon, considering that there is a transformation of the material (any material: rocks, steel, plaster, pigments, light, objets trouvés, branches, among many others), as it is in its raw or found state (which may presuppose the existence of previous transformations, resulting from the action of time or the elements of nature on the material, etc.) in an expressive matter, understood as a component of the work of art, intrinsic and irreducible to its composition. Implicit is double transduction between the material and its transformation into an expressive matter in the face of the reaction to other components and between the material and the artist, which preferably occurs on a plane where all the components are understood (or rather felt) like forces. The energetic exchange, that flows between the artist and the material, is not linear (and often occurs in a moment of abandonment of consciousness, leading the artist to unpredictable experimentation). It is intensified by the experience of the present moment in which the limits of affects are questioned (this is still the main way in which we know the world - the way we are affected by phenomena). Both the artist and the inert material (before its transformation into an expressive matter) are intertwined in this incessant exchange (which is no longer, however, the classic struggle between artist and material, instruments or techniques, although all these can concentrate and release forces which act on the final composition plane of the artwork).