Serena Creciente

El Cuarto de Máquinas presents Delirio Óseo (Osseous Delirium) by Serena Creciente (Samantha Lomelín).

Delirio Óseo (Osseous Delirium) offers a critical reflection on the notion of sculptural form understood not as  representation, but as ontological affirmation. Far from images, symbolism, or narrative discourse, these works are  articulated through a logic in which matter and structure are not subordinate to any external meaning, but are instead  self-affirming conditions of existence.

The sculptures gathered here are deliberately positioned outside traditional frameworks of meaning. They do not  seek to be understood or interpreted. They do not refer to any external referent, nor do they engage in a symbolic  economy. In this sense, their conceptual proximity to haniwa, funerary objects from Japanese tradition, is particularly  relevant: objects conceived not to represent or communicate, but to exist as autonomous entities whose presence  requires no justification.

The material, wire, in this case, is not a neutral vehicle. It is an active agent whose resistance, bending, and torsion  generate forms that emerge from a constant tension between control and indeterminacy. Some pieces are displayed  in their essential structure, others are covered by membranes that conceal without defining. Fire, present in several  of the works, does not act as a destructive agent, but as a transformative force: it marks, alters, blackens, but does  not erase. What remains is not a testimony of ruin, but the persistence of form through alteration.

There is no intent here to offer comfort, nor to evoke emotional resonance. These sculptures do not aim for  empathy or recognition. Their visual and conceptual density, raw materiality, and inescapable presence make them  confrontational entities from the realm of the unrepresentable. They are not symbolic forms, but material bodies that  challenge traditional interpretive categories.

Ultimately, these works refuse to occupy a subordinate place within the order of the interpretable. They are not  offered to the viewer as decipherable objects but rather confront the viewer as autonomous, deliberately opaque  forms. The question is not what they mean, but what their existence demands. Faced with them, it is not the object  that must justify itself to the world, but the world that must reconfigure itself in response to the unrelenting insistence  of their presence.

–El Cuarto de Máquinas