This installation marks the second phase of my sculptural investigation, integrating body-based measurement with the displacement of weather as a system for memory and atmospheric inscription. Developed while living in Glasgow, (change of state) initiated the use of the Atmospheric Mechanism—a custom Arduino-based system designed to recreate the atmospheric conditions of two emotionally significant days and relocate them to Mexico City. A final transmission sent the weather back to Glasgow, closing a circuit of temporal and geographic return.

The work consists of 25 black concrete sculptures, cast from a lost wax mold of my body and structured around my shoulder width (40 x 40 cm). Together, they define the spatial reach of my body—what I call my universe. As time passes, each sculpture changes: salt rises to the surface, concrete turns white, and erosion registers as a slow inscription of duration. Only two sculptures were exhibited in this iteration, gesturing toward a larger, systemic whole.

This project extends the logic of full-body architecture introduced in earlier works and introduces weather as material—no longer background, but content. The title, drawn from Joyce’s Ulysses, references transformation through naming and non-linear time. The psychological climate of the work is shaped by Sylvia Plath’s The Bell Jar and Bergman’s Persona, both of which informed its spatial, mirrored, and internal dynamics.

From this point forward, climate and date became the primary coordinates of my practice. (change of state) marks a shift from architecture as ruin to atmosphere as structure—from memory held in fragments to memory performed in fog, salt, and suspended time.

(change of state)(2022)

Installation: Wax, plaster, concrete, black pigment, steel, water, LED, Arduino, water pump, fog machine, smoke machine, chalk, mirror. 

Galeria PequodCo, Mexico City.