The original idea for Lames was the type of sculpture we call the mobile: an aesthetic object primarily conceived for that which it expresses in and through motion. The mobile, which usually produces complex dynamics, is seen by observers who are also in motion. The dynamic of the regard and changes in the observation point are added to the sculpture’s own movements. The complementarity of these dynamics brings about a particular aesthetic object with entirely new characteristics: it is perpetually being created, perpetually defining itself. Nonetheless, the object always remains the same. Depending on the circumstances, we are able to recognize mobiles by Duchamp, Gabo, Calder, Tinguely or Henry-Bolognini and we can even name them. Sometimes with precision.
The interlocking of the moving objects that are present in Lames – or rather that determine the existence of the work – reminds me of that somewhat enigmatic phrase by the Argentinean author J.L. Borges: “in the letters of rose is the rose”.
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