I use the term biophilia as a sense of connection with nature and with other forms of life. As a definition, it refers to a human bond with other species, with the environment, with plants and animals. It requires continuity in order to be understood—an evolutionary process from the origin of existence. It is where art and science converge, instinct and reason, time and space, the world and the scientific perspective. Here, I make visible an interpretation of the natural world—summarized in weavings and the application of different patterns through the use of metals.
I examine a point as the origin of everything (Genesis), as the minimal temporal form, which is categorically shown to be devoid of complex elements. In this way, composition is reduced, with a practical-functional value in writing, appearing as an interruption. This becomes, in turn, the only bridge between word and silence. Such is the case of the letter or symbol “A,” which presents itself as a beginning, an apparent or primary center, and everything it typifies as a primary image—as the origin of all things. In this way, the line emerges as an element derived from the point. It moves from the static to the dynamic, prone to being extended in different directions across the plane. Each measure (thread) is a function that assigns an area, a space, an interval, and a probability. It has the capacity to form planes and different densities that unite the parts.
The universe presents itself as a totality of time and space, as particles of Space – Time – Light – Thought (which complement and condition one another). Its dimensions undergo constant and recurring transformations, in all existing orders (forms, directions, and orientations) that change state and position continually—coinciding with predictions that the universe is self-contained, without beginning or end. So where do the beginning and the end reside? Or are Beginning and End merely ways of thinking, or instants of the imagination?
The analysis of the universe that we are able to make (of a restricted part of it) arises from a set of norms and quantities based on the observations we make. These exist only in our minds and have no other reality.
In this context, I show how one reality differs from other external or foreign types of realities when confronted with that part of imagination that defines us. Yet this, too, becomes another type of reality. I expose viewpoints and ideas as arbitrary elements encapsulated within a subjective time and space. I define imagination as a process that does not require a tangible or material object in reality to expose us or distract us from our own context. Even so, time, as a physical magnitude through which we measure the duration or separation of events, remains subject to change and observation.
Erica Muralles Hazbun