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Orbiculitas, Los cimientos, los pilares y el firmamento.
Museo de Arte Contemporáneo, Quinta Normal, Santiago, Chile.
2017
Curated by Angels Miralda.



Orbicular seat & Aglomerón ii & Aglomerón-foam (background: Promised land by Giuseppe Licari) ≈ polyurethane, silicone, pigments, glass, granite.












aglomerón-foam ≈ poliurethane, silicone, pigments, granite, copper, rebonded foam, smoked glass.








Aglomerón ii ≈ Granite, glass.
 The series ‘Aglomerón’ showcases leftover granite pieces collected from the markets of Santiago. These rocks, initially extracted, cut, polished, and exported as flat surfaces, eventually end up being discarded. The stratified arrangement of the slabs makes visible the material cycle they undergo, reminding us of their former geological condition.
























Orbiculita, polyrethane, silicone, powder minerals and pigments.
Orbiculita' is a piece-bench whose surface treatment refers to the “orbicular granite”, a granite with an uncommon pattern resembling “eyes” present in Chile's.




The base, the columns and the firmament
Museo de Arte Contemporaneo, Santiago, Chile, 2017.
Curated by Angels Miralda

Exhibition exploring cycles of emergence/use of earth’s materials, focusing on the world’s industries’ impact on nature. It displays an interest in granite’s material cycles as a mineral that after being extracted from earth’s strata, gets flattened, polished, and used as domestic and commercial “surface-finishes”. ‘Orbiculita’ is a piece-bench whose surface treatment refers the “orbicular granite”, a mineral formation with an uncommon pattern resembling “eyes” present in Chile’s mining
town Caldera and considered nature’s sanctuary, therefore a focus for tourism. “Aglomeron”, is a pile made of left-over pieces of granite sold at markets in Santiago, which I eroded and arranged stratified, recalling the granite’s former geological condition. Re-engaging granites with earthliness, the audience could seat on some pieces, as if they were a rock or a bench, and perceive from there, the natural-cultural implicances of the museum room.