The installation began as an accumulation of personal garments packed inside industrial coffee sacks, a half-ton archive that turned the studio into a topography of weight, memory, and domestic residue. Each sack carried the imprint of daily life compressed into a rough geometry, transforming clothing—our most intimate architecture—into an anonymous mass of material. The work explored the cycle of possession and release: once exhibited, the entire load returned to the recycling chain, dissolving back into the world from which it came. What remained was not the object but the gesture, a socioplastic exercise on how matter holds identity only temporarily and how letting go can itself become a sculptural act.
