This series unfolds in the latent element, the underlying life that exists in every construction. The title refers to the circumstance that the series was produced in a construction in ruins in Bangkok. Both the structure and the materials are common to buildings in countless other places. In the face of globalization and the uniformity of present-day mass construction, this series celebrates the singularity of each individual space.


The reinforced concrete serves as both canvas and palette: an “artificial stone” on which lichens and other natural forms emerge to create random patterns and figures, breaking the tendency of the concrete toward symmetry and uniformity. The state of the building at the point when construction was suspended leaves its skeleton visible, imperfections and all. Unfinished edges and various orifices allow access to the interior of the material, as if we could slip through the cracks, putting our finger in the wound. Perhaps that is why the interventions on the wall are red, almost reminding us of lacerations in the architecture, of scars that imprint their history on the material. Other lines on the ground act as reflections of the former ones, with a liquid color and form that dialogue with the appearance of water, a reflective surface glimpsed in some of the cracks in the architecture, generating visual extensions.


The composition, color, and relation to the “architectural canvas” lead us on a pictorial progression in which the attenuation of the third dimension and the square format bring us ever closer to conventional “easel painting.”