The work is situated on the threshold between body and object, between the organicity of the skin and the geometry of the instrument. This fusion proposes a critical reading of the notion of identity as a resonant surface: the body not only as a physical presence, but as a sound device, a container of memory and vibration. The visual texture, marked by chromatic superpositions and an almost stony grain, refers to a process of visual sedimentation where the human merges with the inert. The body thus emerges as an architecture eroded by the gaze, where the sensible and the symbolic tense up. The incorporation of the instrument introduces a dialectic between sound and silence, between what vibrates and what remains static. There is no obvious eroticism, but rather a reflection on the exposure of the body as an aesthetic material, subject to the same processes of wear and representation as any other cultural object. In this work, the body becomes a score and a surface of inscription; light and color function as visual notes that compose a silent music. What is observed is not a body, but the trace of its resonance: an image that questions the boundary between flesh, form and symbol.
