Geografie errante
Ongoing series — performative paintings
Geografie errante is an evolving series of performative paintings, born from the organic meshes of fruit and the poetic impulse to dissolve fixed meanings. Each work becomes an act of visual dérive — a wandering through material, colour, and gesture — echoing the instability of climate and identity in the Anthropocene.
The practice unfolds through vivid, abstract, and sensorial compositions that border on the objectual. What begins as pigment on paper often mutates into hybrid forms — embodied presences that speak to waste, fragility, and transformation. As significance is unrooted or emptied, colour, form, and matter become vessels of affect and urgency.
These works emerge from close observations and raw sound materials captured in daily surroundings — gestures of listening and sensing that reflect a broader idea of landscape shaped by time, memory, and the body’s perception. Ink flows through transparent layers of water, forming organic meshes that whisper tales of the Earth.
In chromatic monologues, these errant geographies take shape: where melting glaciers, rivers, and deltas cross valleys and rainforests. From the banks of the Paraná to the dissolving horizon where sea and sky become indistinguishable, fluid territories appear — marked by histories of trauma, such as the bloodshed of the Triple Alliance War between Argentina, Paraguay, and Brazil. These shifting lands are both mythical and real, shaped by political systems, maps, and laws that draw and redraw the lines of inclusion and exclusion — defining countries or [out]lands.
Water, in times of climate crisis, becomes a deeply political matter. The wild blue of oceans and rivers pulses through green-blue seascapes — evoking fluid cartographies, animalistic fantasies, or submerged memories. Embedded in these compositions are industrial remnants, hybrid fragments, and technical debris — gestures toward plastic and sound pollution, but also toward the poetics of material excess.
Geografie errante builds an imaginarium — a visual and sonic ecology — that follows the life cycles of this water-rich, unstable planet. These works circle like swimming cycles through the Danube — rhythmic, intuitive, unfinished. What remains are fragments and echoes: tuned landscapes, spectral matter, collective sound memories.
Life vanishes and reappears through layers of ink, offering a quiet reminder: even in a shifting world, beauty endures — not as permanence, but as presence, as choice.
“Loose ends and ongoing stories are real challenges to cartography. Maps vary, of course. On both sides of the Atlantic before the Columbian encounter, maps integrated time and space. Both told stories.” — Doreen Massey
I did over 100 of these serials.
