Description

Magia was created when what I had kept under the surface my whole life opened up inside me. Childhood trauma, and the raw reality I had felt but refused to see for years… and yet it was there. Silent, dark, patient, and smiling at me. And one day it wouldn’t let me run away anymore. It made me stop, take a breath, and look into the places where it hurt so much that I preferred to cover it with light, laughter, and my own strength.

This diptych is exactly that moment of breaking. The moment when something in a person tears apart — not to bleed again, but to finally see the truth for what it is. And I saw it, heard it without wanting to. Without illusions. Without apologies. Without a mask. Without explanations.

The crack in the middle is my scar. A story that has been irrevocably imprinted on my body and soul. And when I finally accepted it, it stopped being just pain. It started being energy. It started shining. It started changing me. I believe that every truth will come out one day.

The metallic layers — gold, copper, bronze — are not decoration. They are transformation. Magic that is born precisely where we are most broken. From the darkness emerges a light that can no longer be silenced. Magic is my alchemy: pain that turns into strength, truth that turns into light, and me that changes before myself because I am no longer subject to hope or illusion or the lies of my own family. I have none anymore, and neither do pretense, lies, and manipulation.

This work is the moment when you stop in the midst of chaos and for the first time allow yourself to say: “Yes. It happened. And it will no longer define me, control me, or have any power over me.

The work was created when what I had kept under the surface my whole life opened up inside me. Childhood trauma, and the raw reality I had felt but can’t said her name. And one day I haven t choice, wouldn’t let me run away anymore. It made me stop, look into the places where it hurt so much.

This diptych is exactly that moment of breaking. The moment when something in a person tears apart not to bleed again, decay, but to finally geometric reconstruction, when the truth is part of your space.

I saw it, heard it without wanting to. Without illusions. Without apologies. Without a mask. Without explanations.

A situation that has been irrevocably imprinted on my body and soul. And I don’t know, if I accepted? Transformation is not comfortable. Magic that is born precisely where we are most broken. From the darkness emerges a light that can t longer be silenced. I am alchemist of pain that turns into strength, truth that turns into light, and me that changes before myself because I am no longer subject to hope or illusion or the lies .

MAGIA.MELAMMU is a autarchy-specific protective diptych conceived as a monumental architectural installation. Its two physical elements, the central rupture and the exposed wall behind them form one indivisible spatial system.

The exposed wall functions as the third material and architectural component of the installation. Once the diptych is installed, the section of architecture visible through and around its central opening becomes an active material component of the work. Its colour, texture, light and physical continuity enter directly into the composition. Each installation therefore incorporates a real fragment of its location while preserving the structural identity of the diptych.

The central void joins both physical elements with the architecture behind them. It is the point at which the physical matter of the work opens and admits architecture into itself. The surrounding wall passes through the rupture and completes the installation. Matter, absence and architecture operate with equal compositional authority.

This opening holds the work’s central transformation. The rupture records a break that cannot be reversed or concealed, while its geometry prevents that break from remaining an uncontrolled collapse. Disintegration is redirected into a new structural order. The two elements do not reconstruct the form that existed before them; they establish a different continuity across the space between them.

MAGIA.MELAMMU uses the thermodynamic moment of decay as an active organisational principle. Energy released through structural disintegration is accumulated and transferred through geometry, reducing entropy and concentrating the surrounding perceptual field. In proximity to the installation, external information recedes, motor activity decreases and the space enters a state of physical and perceptual quiet.

This silencing is part of the protective operation of the diptych. Protection is produced through containment: the installation gathers matter, architecture, light, distance and the viewer into a stable field without closing that field from the surrounding space. The body registers this condition before it names the figures or interprets the rupture.

The metallic surface carries an optical mass associated with petrified matter, corroded steel and geological decay. Gold, copper, bronze and black register successive states of transformation. They establish different states of the same transformation. As the viewer moves, changing angles of light activate latent structures across the relief. Forms that remain compressed from one position separate from another; areas read as solid mass dissolve into cavities, shadows and figures.

Its legibility develops through physical proximity, lateral movement and changes in illumination. Chiaroscuro does not merely model the relief. It regulates which structures become visible and which return to the material field.

Despite its dimensions of 150 × 100 × 24 centimetres and its optical association with heavy mineral or metallic matter, MAGIA.MELAMMU weighs kilogram. It is installed using one or two structural anchors and introduces monumental physical presence without imposing a corresponding load or structural intervention on the architecture.

The contrast between visual mass and radical physical lightness produces a somatic contradiction. The body anticipates weight, resistance and danger; the actual structure provides stability, lightness and containment. Perception is recalibrated before verbal interpretation begins.

MAGIA.MELAMMU does not treat transformation as the disappearance of damage. The rupture remains visible, occupies physical space and determines the geometry of the installation. Transformation occurs because the rupture acquires structure, light and spatial authority. What was carried internally becomes part of architecture.

TECHNICAL SPECIFICATIONS

Type: Protective autarchy object installation — diptych

Technique: Saphea Phenomenal Spatial™

Dimensions: 150 × 100 × 24 cm

Net weight: 1 kg

Installation: Single- or dual-anchor suspension

Architectural component: Central void and exposed wall behind the diptych

Year: 2026

Series: BABYLON

Status: Unique work (1/1)

Provenance: Blockchain verified — NFT Pol

Selected exhibitions and publications: ISSN 2553-7460; ISSN 3054-6621