MA was not conceived as a concept.
It emerged from a condition.
It emerged from a condition.
For a long time, movement never stopped.
Projects followed projects.
Creation became continuous, almost automatic.
Pause disappeared — not by choice, but by habit.
Projects followed projects.
Creation became continuous, almost automatic.
Pause disappeared — not by choice, but by habit.
What appeared as exhaustion was not failure.
It was a signal.
A body noticing the absence of space between actions.
It was a signal.
A body noticing the absence of space between actions.
A decision to rest was made.
Yet the next destination was already set.
Nothing was happening — and everything was decided.
Yet the next destination was already set.
Nothing was happening — and everything was decided.
Between those points, a peculiar time existed.
Neither forward nor still.
A suspended state.
Neither forward nor still.
A suspended state.
Only later did language arrive.
The word MA — the interval, the space between —
did not initiate the experience,
it named what was already being lived.
The word MA — the interval, the space between —
did not initiate the experience,
it named what was already being lived.
MA is not an answer.
It does not propose direction or resolution.
It records a moment when meaning had not yet formed.
It does not propose direction or resolution.
It records a moment when meaning had not yet formed.
Through space, sound, and wearable objects,
MA makes visible a pause that usually goes unnoticed.
MA makes visible a pause that usually goes unnoticed.
Within BLOTTO, MA exists as a quiet room —
not an entrance, but a place to stop after entering.
not an entrance, but a place to stop after entering.
A space where silence breathes.
MIZEN
MIZEN is an installation situated within the project Ma, which critically reinterprets Ma not as a passive interval, but as a generative condition in which meaning remains- undecided.
The term Mizen denotes a state prior to actualization —where causes are present, yet outcomes have not been fixed. This work operates within that threshold. Until a visitor enters, the installation does not fully exist. Light, sound, and spatial composition are activated through presence, positioning the viewer not as an observer, but as a constitutive element of the work.
Drawing from the etymological origin of Ma as light passing through the gap between doors, visitors appear in silhouette within a framed composition, momentarily becoming both subject and structure. Directional rain-like sounds, triggered and spatially randomized by movement.
MIZEN proposes relation as the primary site of meaning. Context is not given in advance, but continuously produced through encounter, implicating human presence itself as a form of potential.