The miraculous is not a work of art but rather a continuous practice. 

It is an attempt to re-establish a new type of dialogue and sensibility.


The miraculous doesn’t have a purpose.


The miraculous is found there where are no expectations, even towards the simplest of actions, even bordering the absurd.

There is no demonstration of the truth.

The miraculous is a place of infinite beginnings, of inventing new perceptions of a new territory that reveals itself.


The miraculous aims at the discovery of a new vocabulary.


The miraculous is the place where the sensitivity abandons the protection of a predefined reality.

the miraculous, or the search of it, as an artistic practice comes rather from a need of wonder as a way of engaging reality rather than a need of definition.


the miraculous and the sense of wonder are what makes the artistic investigation  unique and different from all the other practices.


the miraculous does not preach, nor does it judge or define. it has no morals and cares for none but rather simply is in those places of wonder, of loose joints in the whole assamblage of the defined, explained reality.


the wonder comes before the word just like magic  comes before language. the reality is at first strange and absurd before we manage to transfer it into language, into understanding, into structures and frames. it is not in the nature of language to look for the new, but only to define the already charted territory.


in order for dynamics to exist, it takes the element of magic, of seeing and accepting as legitimate and real an image you cannot recognise yet but you have to believe in it’s existence in order to stand any chance of discovering one. 


the miraculous is the state of dynamics itself. it is not the opposite of understanding, but its complement. the miraculous feeds the language, it is not language.

for composition to work, one needs to understand the elements he is working with.


in a time of sheer expression there is a void of meaning. the expression then becomes useless for the composition but it achieves, in return, the quality of being universally approachable - the absurd breaks the barrier of language because it has no meaning. it is not subject to the oriented conceptual frame of a group or a culture.

always, in the moments of great shifts, composition becomes impossible, it is confronted with a crisis/lack of material.


composition requires solid elements (both in terms of concept and expression). in times of shifts all elements become fluid, they go through a process of reevaluation. they become permeable and integrate into a much larger dynamic.

they lose meaning, switch meaning, some even simply disappear completely.

study for a better understanding of light in relation to a center

study for a better understanding of light in relation to an object

study for a better understanding of distamce in relation to the self

study for a better understanding of space in relation to a standard