As if going back to the basic structure of the universe, to a *Tohuwabohu* of precarious forms, aberrant shapes, ephemeral (or rather unpredictable, capricious) compositions – all descending from the idea of archetype – Nicolás Lamas is walking us through a deconstructed microcosm, where domesticity and wilderness coexist and eventually merge.

A still life is unfolding in the gallery space. Hybrid objects align in a fake alphabetical order, following an invisible rhythm. Trivial fruits of thesis and antithesis, nature and culture, decay and manipulation, they ultimately succumb to the poetics of form and fall into exotic afterlife.

Space is divided, time – indefinite, and objects – once fruits, spaghetti, stones, bones, or IKEA ready-to-made structures – become objects of thought. While amassed, correlated, they behave as words in a puzzle – outcome of knowledge, calculus, and chance – and Lamas is using them to prove that form can be overwritten, but never fully discharged of its cultural sediment.

Photo credit: Lucian Indrei

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