THE PHYSICS OF THE FLIGHT (II)
The art of taxidermy aims to show animals as if they are alive and therefore tries to immortalize them in a "natural" position. However, forcing the body to be natural only results in an awkward pose that paradoxically highlights its non-living condition, making death even more evident.
In this work, the subject of study is the taxidermy of a seagull which is placed in the center of what looks like a laboratory bench. The white tiles of the table refer to the aseptic processes of chemical analysis and scientific accuracy. The bones that make up the seagull's skeleton are spread out around the table according to its topography.
Several tiles are broken. This works as a hinge between the scientific dimension and the representational and subjective dimension, materialized in the drawings and in the texts that can be seen below the tiles. The drawings are attempts to study and understand the physiognomy of the displayed bones. However, underneath that attempt there is also a desire of grasping and freezing time, since these fossils are in fact the evidence of the existence of a living being and of the passage of time.
This piece enables the intersection of different methodologies, such as those that respond to a scientific curiosity and those that suggest a more poetical approach towards the permanence of matter and time, as well as to the tension between life and death.