Space Transmutations.

“Everything solid melts into air, everything sacred is profaned, and everything that is rigid melts away.” Liquid Times, Zygmut Bauman.

"Space Transmutations" is an intervention based on a deteriorated 17th-century space in Orchha, India, recreated in a 20th-century house in La Condesa, Mexico City. Using a photographic record that documents what is already memory and past, the space is reconstructed in another place about to be demolished, questioning the repetition and cyclical nature of matter.

By transferring the photograph to a tangible and three-dimensional element, it achieves a return to a physical dimension with temporality, something that the mere image cannot achieve. A presence is materialized and, at the same time, carries the absence of the real space in time. The transfer technique creates gaps of information, leaving traces and voids that cannot migrate to the present; an analogy of the mind, which unconsciously decides what memory to store and what to forget. This reflects deterioration and decay, as in the mind, where memory disarticulates and the distance between reality and memory intensifies. This questions whether space and time are products of consciousness, as emotional, immaterial, symbolic spaces.

At the center of the space, a hanging stone stands out, a symbol of the primitive, framed by a false entrance of light. This creates a visual contrast between the "eternal," and the wall that denotes the fleeting and the seemingly ephemeral; however, both are the same matter, the origin and the destination. 

The walls are intervened with chisels, paint, and blows, fusing, through action, the past with the present moment. The limits of Newtonian time, art, and architecture, reality and memory are erased. A paradox arises: while matter is manipulated with the intention of accelerating time, the apparent consequence is a return to the past.

At the end of the reconstruction, the wall is demolished, culminating in destruction that brings creation. It breaks, restructures, and transmutes into "portable" elements, symbolizing the loss of rigidity of space in modernity through the erasure of limits and borders. These elements, victims of technology and globalization, act as anchors that encapsulate the memory and identity of cultural heritage, representing a "borderless" world moving towards cultural homogenization.

The portable elements, created from the rubble of walls that ceased to exist, accelerate their imminent destiny of becoming ruins, returning to the cyclical trajectory of matter and time, to the impermanence of space and the fragility of memory.