The Unperceptibles, Veregz Collection, Buenos Aires, Argentina

The Unperceptibles is a series of works that are in its own way – imperceptible, like its name in itself, being a misspelled idea of a word. The different and juxtaposed layers of fabric enter in a dialogue with one another and form a blurred visual experience. Likewise memory which deteriorates
or becomes selective over time, images and information fade and become part of a system of identifiable forms. What was once experienced, will be stirred up and by oneself rearranged, then none will be perceived as the same.

The images that surround us and that at the current state, we all depart from and navigate
within, form a map of our own perspectives, edited standings, and selected view-points. The Unperceptibles is an invitation to see what lies beneath. It holds encoded information, the core of which can only be understood through motion, turning the viewer into an active participant in the works.

After “Glimpse on a box” and “Tapumes” which explore possibilities of space as subjective matter, it being fixed and enclosed or freeing and alive; these new works presented in Tacuari have come out of their own supporting structure in an act of unruliness or defiance. In some cases they do
not obey it, while in others they firmly challenge it. Through the use of their own weight the pieces hold themselves in place proposing stability and insinuating fluidity all at once. Spatiality, as an architectural dimension, could also be one living organism of interconnections. One that influences and is influenced both simultaneously and incessantly.

The Unperceptibles detach themselves from the wall in an assumed gesture of inhabiting the non 02 space, the field of significance that separates the viewer from the viewed subject. The in-between
space is often explored in Maria’s work and in direct relationship with themes of presence and
absence, perception and existence. The Unperceptibles floating in the exhibition space are the

extensions of the space that each work tries to make ever expanding. These window-filters with
no borders make of each viewer an attentive observant that disrupts the composition of this web, becoming a part of it. Like someone, who is contemplating the street from a high window, but is also observed from across the street. Being both the viewer and the subject.

These works tackle different subjects that are part of the contemporary everyday realm in an almost subliminal way. The names; “News Spread”, “Voice”, “War Working-site”, “The Mechanics of a Ride” and “Body Without Dance” are inscriptions about the flux of the contemporary experiences that are left as remainings, un-processed happenings, unfeasible amounts of information, or transnational perspectives.

Several threads cross over to create a new urbanism, a map of networks that, by influencing
each other, the whole is transformed. These works become: the rendering orchestra, the u rban symphonies and the ’visual-virtual’ experiences that allow for an ever-changing substance of reality to be born and prosper so naturally uncontrollable. The same reality that demands time to be understood and a critical eye to interpret and build from there on.