The Blood liquefied at 10 am - It will be a good year!
Every year, on the 19 th September, thousands of people assemble and wait for the
miracle: the liquefaction of Saint Januarius’ blood, which, according to the legend, was
saved by a woman just after his death. The archbishop tilts the ampoule with the solid
blood through a very precise ritual of hand gestures. If the blood turns into liquid, it will
a good year.
Touching is always a mutual action: what is touched, touches back. This work is about
the empty space where two surfaces seem to mingle, the proximity between my hands
and images. In Ancient Greece it was believed that the act of seeing happened through a
very thin film through which the scene reached the eye. It was this pelicula, a wafer-thin
skin, that made things visible.
What’s the relationship between the act of seeing and touching? Do we touch when we
cannot see? Do we touch in order to see better, to see further? Do we touch to stop
Candles were the first lights, they were used to heat as well as to keep hopes and desires
alive. Used in different kinds of rituals, they have always bonded our visible, concrete
material world with invisible ones. A ritual is a repetitive sequence of gestures which is
external manifestation of an internal belief.
The blood liquefied at 10 am – it will be a good year! is a photography and installation
work which consists of wax tablets laid out on a surface with floating heating lightbulbs
suspended a few centimetres above them. Every day, slowly heated, the opaque surfaces
become transparent, allowing the images to appear.
Fondling images, hiding and revealing them, sometimes scratching, creasing or crushing
them, they are brittle images, even so never fully grasped.
As in Byzantine culture, the defacement and disappearance of the images was not an act
of defilement but a sign of devotion, a recirculation of the painted body in the body of the
The work has evolved through a study of gestures, the photographic gesture itself and the
imprint process. Imprint is a very similar process to photography. Unlike the latter which
creates a specular resemblance, the imprint needs contact and proximity. The image
becomes a matter of surfaces, its materiality a protection, gradually hiding and revealing
Wax is a prodigious and almost living material. Very similar to organic forms, it is
malleable, it assumes the temperature and the form of my body. Once heated, this ductile
material is neither solid nor liquid. Images become viscous and sticky. Unstable and
fragile, just a little heat would transform them, create an oscillation between form and
formlessness. One part flows, changing its shape and the other one evaporates, mixing
with oxygen. The evolution, change and disappearance over a certain period of time
proves its instability and relates these images to living organisms.