MANIFESTO OF COSMOMORPHISM

 

 

Cosmomorphism originates in an ancient idea: the individual is not separate from the world. We belong to a network of relationships, forms, and forces that pass through us and that we, in turn, transform.

Artistic Cosmomorphism transposes this conception into the realm of creation.

The artwork is no longer conceived as an isolated, completed form enclosed within its own boundaries. It becomes a territory of encounters and transformations.

In my practice, sculpture often constitutes the first state of this reality.

But it is not necessarily its final state.

Another work may come into contact with it. A pictorial intervention may alter its perception. An image may enter its surface. Light may draw a new form upon it. A projection may reveal what had previously existed only in a latent state.

These interventions are not ornaments added to a pre-existing work.

They become the work itself.

Cosmomorphism therefore does not consist in simply juxtaposing sculpture, painting, drawing, image, or light. It seeks to provoke their reciprocal metamorphosis.

Each form acts upon the other.

Each artwork can contain another.

And from their encounter emerges a reality that belonged entirely to neither.

This is what distinguishes Cosmomorphism from a simple combination of disciplines or mixed media. It does not seek accumulation, but transformation.

Sculpture thus ceases to be merely a volume in space.

It becomes a medium, a territory, a material for transformation, and a space of emergence.

Light itself ceases to be merely what allows us to see the work: it can become drawing.

The image ceases to be merely representation: it can become matter.

Matter ceases to be a boundary: it becomes a passage.

Cosmomorphism is therefore founded upon a fundamental continuity between forms.

Just as the original meaning of cosmomorphism rejects an absolute separation between the individual and the world, Artistic Cosmomorphism refuses to consider the different realities of an artwork as independent from one another.

Everything can act upon everything.
Everything can transform everything.

The artwork then becomes a world in itself: not a static world, but a system of relationships in which forms, materials, images, and light exist through one another.

Cosmomorphism does not therefore seek to represent the cosmos.

It seeks to rediscover its principle: relationship.

A universe in which forms emerge, encounter one another, transform one another, and give birth to new forms.

The Cosmomorphic artwork is never merely what it reveals.

It contains the possibility of becoming something else.