Each angle offers a different reading, but none surpasses another: all are equally necessary to understand the whole. Unlike photography—which fixes spatial complexity within a frame from a single point of view—these pieces avoid any edges where the world ends. They are complete universes, finite but unlimited: one can traverse them without encountering a boundary, without falling outside the frame.

This quality connects with contemporary notions of physics, where space is no longer conceived as a stable container, but as a dynamic fabric of relationships and forces. Similarly, Zurier’s ceramics function as fields where images emerge and fade depending on the viewer’s movement, inviting an intimate encounter where perception is constructed in motion. To understand the piece, one must hold it in one’s hands and turn it; only then is it revealed how a unified image exists simultaneously as a whole and as multiple partial visions. This everyday gesture becomes, in the work, a metaphor for the way in which reality itself is assembled from fragments.

The artist shares that she took photographs prior to the ceramic works, addressing these same questions from another angle: through superimposition, transparency, reflection, and the ambiguity between what is solid and what is illusion. In them, several planes coexist in a single frame, questioning the boundaries between interior and exterior.

Text by Nina Zurier