Impact

Time, space, object, and movement. Force is left to the imagination; after all, it is imagination that draws poetry, like a writer who begins a verse without being present.

Nothing is discovered, no theories are proposed, only play is made with those four elements that compose kinematics. A simple trajectory and a simple object are projected to recreate a simple movement that is not really present but can fit within perception. A whole dynamic appears without causes, only outcomes, descriptions captured in plastic sequences of three-dimensional planes that together attract a fourth dimension, time.

It is movement that shapes the concept; from it, the work is born, grows, and is nourished. Movement as a thesis and therefore expressed in different forms: parabolic, simple harmonic, rectilinear, etc. The object, subtle, at the beginning, at the end, or eluded but apparent in the course. A basic figure of little importance but implicitly present without scandal. Space and time are neutral, ideal.

IMPACT is nothing more than a reverence to movement, to the basic laws of the mechanics of nature, to kinematics.