08 | Series * SYSTEMIC REPETITION

SYSTEMIC REPETITION utilizes the power of the iterative gesture to build a resilient archive, drawing from the temporal persistence of On Kawara and the spatial abstractions of El Lissitzky’s Proun. This is the art of the sequence, where the repetition of a mobile grammar or the subtractions of the landscape stabilizes memory against digital amnesia. By engaging with the relational ecology of superjunk, we transform industrial ecologies into a sustained durational praxis. Each series acts as a "World-System," where active socioplastics and textile art overlap to create a dense, hyperlinked ecology. Repetition here is not redundancy but a strategy of systemic heat, a method to ensure that the rhizomatic vanguard of the project maintains its structural integrity across fifteen years of production. Like the constructivist masters, we see the series as a tool for collective worldmaking, where every repeated gesture is a joint in the vast architecture of the network.

 

Series form long-term artistic frameworks where repetition, instability, subtraction, ritual, and chromatic intensity generate evolving bodies of work. These constellations act as laboratories of method, continuity, and transformation across multiple geographies.

Series articulate practice as ecologies of repetition. Instead of isolated works, meaning grows through constellations—unstable, subtractive, ritual, chromatic, affective—where each fragment gains force by recurrence. The series act as laboratories of persistence: long-term frameworks where accidents become method, where the unfinished is not failure but principle, where transformation itself is the content. In the Unstable Installation Series, objects, videos, and actions blur into one another across streets, galleries, and digital platforms. Chairs cut apart, bags of colour left in plazas, conversations turned into sculpture: each gesture small, but together forming a sprawling archive of instability. The Subtraction Series works through cutting and removal, exploring fragility as a sculptural tool—furniture, walls, or even landscapes altered by precise absence, opening voids as form. The Ritual Series operates through food, water, and collective gestures, staging ephemeral acts that dissolve as quickly as they appear, leaving only memory and affective residue. The Color Series insists on chromatic intensity as method: fragments of red, blue, orange, and violet emerge across objects, performances, and installations, proposing colour not as decoration but as relational force. The Unstable Love Series explores intimacy and affect through film and installation, tracing the fragile edges between desire, performance, and material presence. Each of these constellations refuses closure; they remain open, mutable, always susceptible to reactivation. Series also function as methodology: by working through persistence, they trace geographies and temporalities of practice. Works migrate across Madrid, Cádiz, Lagos, Norway, Mexico, Croatia—shifting in form but connected by continuity. They accumulate as lived archives, resistant to commodification because no single object holds the totality; the work is the series itself, the ongoing field of transformation. In their endurance, these series create a slow, cumulative poetics where fragility, repetition, and instability reveal themselves as strategies of resilience. They allow art to be both temporary and infinite, each fragment disappearing yet resonating within a larger constellation that grows with time.