This motto triggers the text projected in slides onto the surface of a rocky sculpture:
Slide Piece for Hamburg — a performative text unfolding in fragments at regular intervals, moving continuously back and forth.

The sentence is drawn from Anne Carson’s introduction to Euripides’ Hecuba. It speaks of a woman whose world has completely collapsed; in the face of such a rupture, her human form no longer seems to make sense.

As the text unfolds, questions of form, materiality, and their endless capacity for transformation, emerge in a continuous loop — one that flows forward and in reverse.
A text trapped in its own rhythm.

I want to look closely into the fracture —
of a moment,
of language.
What would it mean to turn a crack into a thing? If a passage could become a body,

what would it be
to look inside it — to look inside time?

The sculptures presented in She Rock — a show unfolding this spring at Karin Guenther Gallery — emerge from the friction between accumulation and fragmentation.
I see the process of making these sculptures as a sedimentary one, but instead of building out- ward, the material seems to settle inward.

Like a negative mountain projecting itself into depth.

The three Plates presented here are part of an ongoing series that explores matter’s capacity for accumulation, sedimentation, and erosion. These works take on rectangular forms, echoing geo- logical cross-sections — cuts through the earth’s strata — where time condenses into layers of material, forming the body of the piece.

In the Plates, there is no distinction between image and body, no separation between concept and the form that holds it. Background and subject dissolve into one continuous surface.
Depth emerges through a dense blackness, activated by subtle shifts in texture and tonal variation — a dialogue between varying densities of dark matter and transparent color.

They are shown alongside She Rocks, a new series of sculptures that invite the gaze to turn inward. These works open up cavities and folds, drawing the viewer into their interior — gestures that echo both bodily and geological forms.

The exhibition also includes works from the Cosmic Pussies (Cawrie) series, which continues the investigation into fragmentation and reassembly.
Inspired by cowrie shells — their ties to the human body, divination, and exchange — these sculp- tures emerge from broken parts rejoined to form composite bodies. Each unit bears the marks of fracture yet arrives as something whole.

Together, these three series trace my shared interest in transformation through time and language, the entanglement of bodies and earth, and the latent potential of matter to hold, rupture, and mu- tation.

Paloma Bosquê