The second environment evokes contemplation and the unknown, creating a space both charged and suspended in time.

Two copper pipes extend from the walls, suspended just above eye level, facing each other with a one-meter gap in between. On one side, a small painting made of quartz sand appears on the wall; on the other, a subwoofer rests on the floor, emitting a low resonance that subtly activates the space. The arrangement creates a silent tension, a presence shaped as much by what is missing as by what remains.

Pipes are objects that inhabit our urban environment as if they were essential anatomical organs of a vast body, laying outside of our direct field of interaction. Once discarded, like the broken marble, here they stand exposed, marking a threshold within the space.

The copper material that constitutes these objects, with its characteristic of naturally changing chemical structure and color under the agency of oxygen and weather, reference a state of natural ongoing transformation. Like the fragmented marble, these pipes—once cast off, their original use displaced—exist in a state of transition, carrying the traces of their past while becoming part of a new sensory dialogue. The space holds a quiet tension, where sound, material, and stillness converge, leaving the viewer in a moment of charged reflection.