For this solo presentation at Liste, ASMA proposes a series of bronze wall sculptures in the shape of flowers, sprouting from a bass relief composition at the center of their petals that creates a loop, a moebius effect bridging the sculptural form of the flower and the composition contained within.
These are accompanied by a series of UV LED print on polished aluminum plate caged in a lost-wax casted metal fence, the ornamented object juxtaposing with the prints to create a twisty window facade. This simulated inside-outside space, adds to the translucencies in the images to enact visual tricks of reflection, light and shadow.
The prints and the sculptures together, allude precisely to those tricks of refraction: a scene in which the domestic setting of the window or the flower in a vase is fractalized through a narrative of transfiguration that invokes motifs of nonhuman encounters and altered natural elements. The flower loop and the doubling window become formal vehicles to explore ideas of liminality, the porosity between inside and outside worlds, they present specters of human presence through architectural gestures and objects entangled in relations to nonhuman entities, including insects, animals and plants. The compositions wink at ideas of inner/outer body interrelation in their inclusion of macro-biological systems.
This body of work thus expounds on ideas relating to the ontological and metaphysical processes of recognition: what we discern as real as opposed to imaginary through empirical experiences, as explored by Merleau-Ponty in his revisitation of correlationism and alterity.
A reference to Clarice Lispector’s psychological realism and the eerie aspects of her narrative are evoked in the works by them inhabiting that edge between the fantastical and the psychological in the quotidian.
