Charcoal circles were drawn in the way so that they are facing each other through the whole gallery space.
In the Ratio series I decided to produce a circular/elliptical piece by rubbin charcoal onto the gallery walls. The center of the piece is also the geometric center of the wall on which the shape is applied. Upon “entering” the center of the wall, I draw a circle within my arm span, and directly impart on it the proportions of my body. These circles aspire to exponentially occupy the geometric centers of all available walls. The circle is inscribed regardless of how far the surface of the wall permits it. Through circular shapes defined by embodiment – in this case the shape of my body – I inscribe a cosmic reality which is visually representable, but also woven into eternity. This knowledge was described by the Roman architect Vitruvius, and depicted by Leonardo da Vinci in his drawing of the Vitruvian Man. Leonardo used it to illustrate the proportions inherent to the human body, whereby the arm span equals full body height – in Vitruvius words: erit eaque mensura ad manas pansas. Furthermore, this drawing reflects Greek wisdom by representing man as a microcosm – cosmografia del minormondo- since body proportions are inscribed with numeric ratios based on the same numeric mysticism imprinted into the universe. Along with inscribing this microcosmic nature of my body, charcoal was also a deliberate choice, for its capacity to metaphorically contain Sun’s energy inside the bowels of the Earth. The mark of charcoal also bears the life energy it has itself emerged from and which is stored inside it. The energy of charcoal inscribed into Ratio, as well as the energy of its author, experience a renewal of their vitality with each new performance, mimicking the model of its sustainment in nature, allowing the piece to be described as a “work in progress” which can or wants to be completed when the energy of its creator is exhausted and turns into another form.