Apeiron / پیرامون

Apeiron / پیرامون brings together sporographies, skeletal remains of a Caspian horse found on the Miankaleh Peninsula, a charcoal sphere composed of 4,600 crushed charcoal sticks, and a projection of images from the series Coprinus comatus onto a surface of powdered quicklime. The exhibition begins with a reflection on the distance between representation and presence, between that which appears as image and that which persists as trace, residue, or matter.

The sporographies, made with spores of different fungi, produce effects similar to ink on sandpaper and canvas. Rather than controlled images, they emerge from processes of sedimentation and dispersion, where form arises as a consequence of the relationship between organisms, time, and surface. In the same way, the bones and the projections on lime function as vestiges of an absent presence, while the charcoal sphere transforms the drawing tool into object, body, and condensed matter.

Apeiron, a Greek word meaning “unlimited” or “boundless,” is composed of “a-” (without) and “peirar” (end, limit, boundary), and is etymologically related to the Persian word پیرامون piramon, meaning boundary, circumference, or surrounding. It was used by Anaximander to name the origin of the universe: an inexhaustible source, without beginning or end. The exhibition reactivates this idea to articulate a reflection on origin, transformation, and the limits of form, incorporating materials linked to the artist’s immediate environment following her relocation to the Basque Country in 2015.