The "Anatomy of a Rustic Wall" (2025) presents a profound meditation on the dynamic interweaving of mineral components, where the apparent disorder of large, medium, and minute stone blocks reveals a sensitive and functional internal logic. This rustic masonry embodies an ancestral aesthetic, eschewing rigid metrics in favour of a "mineral choreography" guided by the intuition of the stone-worker. Through a process of assembling, rotating, and testing, the artisan achieves a stable and expressive interlocking system rooted in tactile and structural relationships rather than mere mathematical calculation. The resulting wall emerges as an organic puzzle, where technical rigour meets intuitive gesture, utilizing approximately 60 stones per square metre to achieve a state of material equilibrium. Central to this construction is the sober yet vital role of the mortar, which accompanies the stone without imposing itself, adhering to the fragments while preserving their visual integrity. This intermediate form of construction—neither cyclopean nor excessively refined—is affirmed by its vivid texture and a distribution of weight that lacks symmetry but possesses deep intention. The wall narrates the passage of time through every joint, finding beauty not in perfection but in the harmony of irregularity. It stands as a tactile powerhouse, possessing the capacity to resist without appearing rigid and to contain without appearing closed. Ultimately, this body of stones functions simultaneously as surface and memory, a structural entity that evokes as much as it sustains.
Mineral Choreographies is an exercise in "manual endurance" and territorial translation. Unlike the market-driven textures of Rauschenberg or Kiefer, whose materials often feel curated for gallery prestige, this wall is a "socioplastic record" of physical effort and tidal rhythm. Composed of thousands of stones carried one by one from the nearby shoreline, the work is a choreography of movement between the sea and the centenary structure. Each stone, selected for its unique chromatic and formal geometry, is a "found object" that possesses a history superior to any industrial material. This is not mere construction; it is a "slow-motion performance" of assembly. By layering these salt-washed fragments over a pre-existing architectural memory, Lloveras creates a "vibrating skin" of geological diversity. The wall becomes a living organism that rejects the static perfection of the museum. It is a work that belongs to the tides, where the labor of the body and the randomness of the landscape converge to form a "rustic anatomy" that challenges the vanity of contemporary art markets. Here, the material is not "bought"; it is "retrieved" as an act of radical presence.
Lloveras, A. (2025) La anatomía de un muro rústico. [Online] Available at:
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