The blazing of a thousand suns
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Drawing in white conté pencil on gray tinted paper -
Imaginary proteins, graphite on Hahnemühle paper -
Imaginary proteins, graphite on Hahnemühle paper -
Imaginary proteins, graphite on Hahnemühle paper -
Imaginary proteins, graphite on Hahnemühle paper -
Leaf gilding on plywood disc (1m in diameter). Deposit of 10 microliters of lysozyme in the center. -
The mountains of Giotto. Digital photograph of a lab coat, print on Canson museum paper 40 x 41 cm -
Research for Giotto's Campaniles. Gouaches and watercolors on Fabriano notebook -
Research for Giotto's Campaniles. Gouaches and watercolors on Fabriano notebook -
Research for Giotto's Campaniles. Gouaches and watercolors on Fabriano notebook -
Research for Giotto's Campaniles. Gouaches and watercolors on Fabriano notebook -
Research for Giotto's Campaniles. Gouaches and watercolors on Fabriano notebook -
Research for Giotto's Campaniles. Gouaches and watercolors on Fabriano notebook -
Research for Giotto's Campaniles. Gouaches and watercolors on Fabriano notebook -
Research for Giotto's Campaniles. Gouaches and watercolors on Fabriano notebook -
Research for Giotto's Campaniles. Gouaches and watercolors on Fabriano notebook -
Research for Giotto's Campaniles. Gouaches and watercolors on Fabriano notebook
How exposure to light alters the appearance of a work over time? One of the main factors in the degradation of works, light, which is both necessary for the contemplation and study of heritage works of art, is just as harmful to the stability over time of the materials that make them up.
I imagined a space within a work as a meeting place for different skills and knowledge.
As part of the residency, an installation will be unveiled to the public.
Blazing Sun (prototype)
Glass altarpiece, wooden frame.
Hutch: egg tempera paint, gold leaf and photosensitive silver nitrate paint on glass.
Panels: egg tempera and lead and zinc pigments painted on carved wood
Dimensions: 140x70 cm closed, 140x140 cm open
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