ANIMALITY
ANIMALITY began with the discovery of a series of found objects encountered in different landscapes: a rocky creek on the Catalonian coast, a storm-beaten beach in Greece and other chance locations encountered while walking. Although geological in origin, each object appeared strangely animate, suggesting creatures, heads, bodies or dormant presences.
The project takes its cue from the childhood game “Animal, Vegetable or Mineral?”, a simple classification exercise that quickly reveals the instability of such categories. Rather than treating the objects as representations, ANIMALITY examines the psychological and cultural mechanisms through which humans project life, identity and narrative onto inert matter.
Photography plays a central role by isolating the objects from their original surroundings and allowing them to operate within a suspended symbolic space. Naming further amplifies this process. The assigned names do not describe the objects but function as triggers, encouraging the viewer to move beyond resemblance towards a deeper notion of animality as archetype, instinct, presence and transformation.
The project ultimately asks where the boundary lies between the living and the non-living, between recognition and imagination, and between material fact and symbolic meaning. The works occupy a territory where stone appears animate, where projection becomes a creative act, and where the mineral world reveals latent psychological life.