Si un puñado de hojas grandes y flores muertas se introducen en un prisma de metacrilato transparente, de 8 X 7 cms. de lado, y 123,5 cms. de largo, se sientan las bases para que el tiempo la convierta en una torre de Ofelia. La columna ortogonal -esencialmente transparente- se va tornando salomónica en su interior, según se van secando los materiales orgánicos que contiene y preserva.
¿Quién dijo que no encierra belleza una naturaleza muerta nocturna?
El embalsamamiento natural que produce el tiempo, con la liofilización de las plantas al secarse, incorpora otro factor al proceso de la obra: su nueva fragilidad provoca fáciles rupturas y mutilaciones, que permiten seguir evolucionando a esta Torre Ofelia.
En la presente entrada, sólo se reproduce uno de sus extremos, para que pueda apreciarse su contenido más nítidamente.
ENGLISH TRANSLATION
TOWER OPHELIA
If a handful of large leaves and dead flowers are placed into a clear acrylic prism, ( 8 X 7 cms. side, and 123.5 cms. long), laying the groundwork for the time becomes a tower built with Ophelias. The orthogonal column -essentially transparent- be turning solomonic, as they dry organic material, it contains and preserves.
Who says beauty does not hold a still life in the dark?
The natural embalming occurs over time, with freeze-drying the plants to dry out, includes another factor in the work process: her new fragility causes and mayhem breaks, easily, allowing further evolution of this Tower Ophelia.
In this post, is reproduced only one end, so you can appreciate more clearly its contents.
Who says beauty does not hold a still life in the dark?
The natural embalming occurs over time, with freeze-drying the plants to dry out, includes another factor in the work process: her new fragility causes and mayhem breaks, easily, allowing further evolution of this Tower Ophelia.
In this post, is reproduced only one end, so you can appreciate more clearly its contents.
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