The Latin verb plicare means to fold and bend. Plica approaches this gesture as a structural principle that governs the formation of form.
At an origin where everything has yet to differentiate, the potential of forms remains latent within layers. The first boundaries emerge as a surface bends, a line shifts direction, or two planes intersect. As layers are superimposed, new surfaces and relationships come into being. Each relationship alters the equilibrium of the structure; each transformation opens up the possibility for another form to emerge.
The visual language of Plica is constructed around this dynamic of formation and transformation. Geometric planes, sharp folds, overlapping forms, and intersecting axes constitute the structural framework of the compositions. Figures, symbols, and narrative elements are integrated into this framework, taking shape within it and transforming through their interaction with it. Their individual narratives unfold through this network of relationships.
Within this visual system, the layer becomes an active element: one that contains form, reorganises it, and contributes to the emergence of a new whole. In this way, each composition becomes a distinct arrangement of the same underlying structural logic. Forms shift, images acquire new meanings, and narratives diverge; yet throughout these transformations, the generative principle that holds the compositions together remains constant.
In this respect, Plica moves beyond the notion of a visual language to become a system that renders visible the intrinsic order of becoming. Each painting constitutes a distinct world formed through the accumulation and interplay of layers; each world, in turn, represents a singular manifestation of a shared structural conception. While these worlds offer different visual and narrative possibilities, the exhibition ultimately points towards a fundamental question: How does form come into being, how does it transform, and within what network of relationships does it acquire new meanings?
