Kyronis explores the intersection between protein crystallization and artisanal ceramic processes, highlighting the relationship between molecular organization and artistic creation. In protein crystallization, macromolecules spontaneously assemble into three-dimensional symmetrical networks under controlled conditions, allowing for precise characterization of their atomic structure. Similarly, artisanal ceramics use modeling and firing techniques to transform amorphous materials into complex patterns and textures at a macroscopic level.

The series employs algorithms that replicate crystallographic patterns based on structural data, fusing them with ceramic surfaces to create a visual interplay between molecular symmetry and artisanal imperfections.

The crystalline structures, represented through detailed geometries, integrate with ceramic textures, underscoring the convergence of biological self-assembly processes and manual techniques. Kyronis provides an analysis of how both science and art investigate the organization of matter at different scales, emphasizing shared principles of symmetry, thermodynamic stability, and structural transformation.

Sprendo explores the complexity of human identity through distorted portraits that challenge the notion of a fixed and unitary self, inspired by Gilles Deleuze's fascinating philosophical concept of the multiplicity of identities within each individual.

Following the Deleuzian metaphor of the "rhizome," each piece is a network of connections and transformations, where the boundaries between self and other blur into a chaotic dance of shapes and colors.

Each portrait is a journey through the deep layers of being, where multiple identities coexist in a state of constant becoming. The distortion of form is not merely a visual manipulation but an expression of the inherent multiplicity of human experience.

What does it mean to be oneself in a world where identity is fluid and ever-changing? How can we reconcile the multiple facets of our being within a single portrait?

Each piece is an exploration of the complexity and diversity of the human self. Through the distortion of identity, we immerse ourselves in a universe of infinite possibilities, where every face is a unique reflection of the multiplicity of human experience.

Artistic exploration, developed as part of an ongoing creative process, of the living architectures that inhabit the ocean floor. Inspired by the morphological diversity of cnidarians, sponges, black corals, and sea urchins, the pieces emerge as fragments of a reimagined underwater landscape.

Cidaro reinterprets the natural defense of the sea urchin, with ceramic spines sprouting from a cavity as a gesture of both resistance and fragility. Through textures, material rhythms, and mineral pulses, the body of work offers a sensorial perspective on the abyssal, the ancestral, and the unknown.

Artistic exploration, developed as part of an ongoing creative process, of the living architectures that inhabit the ocean floor. Inspired by the morphological diversity of cnidarians, sponges, black corals, and sea urchins, the pieces emerge as fragments of a reimagined underwater landscape.

Glauca unfolds a topography of folds and branches, evoking organic growth reminiscent of the reef. Through textures, material rhythms, and mineral pulses, the body of work offers a sensorial perspective on the abyssal, the ancestral, and the unknown.

Artistic exploration, developed as part of an ongoing creative process, of the living architectures that inhabit the ocean floor. Inspired by the morphological diversity of cnidarians, sponges, black corals, and sea urchins, the pieces emerge as fragments of a reimagined underwater landscape. Kuroi, a Japanese word meaning "black", suggests a coral-like symbiosis, where tentacular and tubular forms intertwine into a collective organism. Through textures, material rhythms, and mineral pulses, the body of work offers a sensorial perspective on the abyssal, the ancestral, and the unknown.

Like magma in the process of cooling, the material organizes itself into unpredictable layers. There is no symmetry, no apparent order. Only an internal, mineral logic that follows the slow rhythm of transformation. Each undulating stratum is a trace of suspended time. The form rises, folds, refolds, as if heat still pulsed beneath the glazed surface. Its dark density does not deny movement; it contains it. In this sculpture, the ceramic does not represent lava. It embodies it. A vertical body where tension meets stillness, fluidity meets structure. An impossible equilibrium, held at the very edge of solidification.

This form does not represent it emerges. Like certain natural systems such as coral colonies cellular tissues or mineral formations the structure seems to respond to an internal logic unseen yet coherent. Elements fold cluster and hold together without hierarchy. There is tension but also balance. Movement yet rootedness.

Here the ceramic does not shape an object but a process. A possible order within chaos as if the matter remembered how to organize itself without being touched.

In this sculpture, matter unfolds within a liminal space where organic forms dissolve and recombine in a delicate balance. The undulating, textured layers evoke a biological twilight — that suspended moment between coral life and mineral memory. The boundary between the living and the petrified becomes blurred, while small reddish protuberances emerge as latent vestiges within a serene and complex landscape.

The work invites contemplation of time from a different perspective: not linear, but simultaneous and sedimented, where growth and erosion coexist. Here, the ceramic becomes a territory inhabiting the ambiguity between transformation and permanence, revealing a topology where nature and craftsmanship merge to shape an organism in perpetual metamorphosis.

This sculpture operates as a silent ecology. Resting on a base of driftwood, eroded, bleached, almost bone-like, lie black, glossy, amorphous forms. They appear isolated, yet their arrangement suggests a latent organization, a hidden logic reminiscent of invisible communication processes found in nature.

The conceptual starting point is quorum sensing, a fascinating phenomenon in which bacteria and other microorganisms communicate through chemical signals to make collective decisions. There is no central authority; rather, a distributed intelligence emerges when a certain density is reached, a silent agreement to act together. This mechanism challenges traditional ideas of hierarchical control, proposing instead a subtle network of relationships, a shared sensitivity to the environment.

From this perspective, the sculpture becomes a material metaphor for such behavior. The black forms are not simply placed; they inhabit a system. They seem to respond to one another, to participate in a logic of interaction without contact, as if emitting mute signals perceivable only through attentive, contemplative observation. The driftwood, with its cracks and traces of time, acts as a fertile terrain, a surface that has absorbed the passage of water and time, now hosting these dark entities, seemingly settled with minimal but precise intent.

The visual contrast between the pale, rough base and the dark, polished shapes is not merely aesthetic. It speaks to a deeper tension between the eroded and the intact, the exposed and the enigmatic. This is a landscape reduced to its essence, where meaning lies not in what is represented, but in what vibrates beneath the surface: the possibility of communication without language, a relation between bodies that needs no explanation.

The work does not narrate. It invokes. It places us before a slow choreography in which each form partakes in a shared intelligence without losing its singularity. A scene of coexistence, mutual attunement, and spontaneous organization. A small speculative ecosystem where matter remembers how to be together.

This sculpture reveals an intimate topography where matter unfolds like a tectonic crust that wraps and protects an oval core. The outer form, of uniform reddish-brown with a glossy finish, acts as an organic shield containing within it a horizontally positioned sphere evoking the image of an egg, a universal symbol of gestation and latent potential.

The central hollow is not merely an empty space but a tectonic chamber: an internal space under tension, a territory of balance where fragility and resilience converge. This interplay between layers and volumes suggests an active process of containment and transformation, reflecting how organic structures in nature organize themselves to protect what is essential during states of development or change.

The piece thus stands as a material metaphor for micro-scale tectonic systems, a dialogue between the visible and the hidden, between the form that holds and the core that awaits. It invites contemplation of the coexistence of solidity and vulnerability, proposing a reflection on the energy contained in stillness and the power within form.

The sculpture presents an organic and abstract form that evokes the delicate architecture of marine or plant life, with a porous base reminiscent of tree bark or coral, and elongated stems emerging like fragile extensions of a living organism in process. Its light beige color and subtle texture enhance a sense of serenity and vulnerability, inviting contemplation of the ephemeral and complex beauty of nature.

This piece materializes a visionary concept known as Verixam: a near future where biotechnology and biomaterials will enable the creation of bio-structures that push the limits of imagination, organisms that adapt and evolve in constant dialogue with their environment. Just as the sculpture suggests a microscopic ecosystem of breathing and transforming forms, Verixam envisions ethereal cities and living materials that reconfigure the relationship between science, nature, and creation.

The work then becomes an intimate topography, a territory where fragility coexists with resilience, where form holds a hidden internal core, and where every texture and curve suggests processes of containment and metamorphosis. This dialogue between the tangible and the speculative invites reflection on the profound symbiosis between matter and life, and on how in this encounter the sculpture transforms into a visual and tactile metaphor for a world in constant flux.

Fossilizing is a way of capturing time, of turning life into a petrified testimony that silently reminds us of the fleeting nature of existence. Preserving, on the other hand, is a conscious act of resistance, an active defense of what still breathes, as if we somehow understand that true wealth lies in what already exists.

These two forces, fossilization and preservation, engage in a dialogue about permanence and change, about what we stand to lose if we fail to care for what we have. It is also a reminder of our capacity to alter or save the world around us, and of the urgency to protect the present so we do not mourn its future absence.