In this piece, two realities clash: the geometric purity of a white, orderly, and aspirational architecture, versus the signs of fragility and humanity—a caravan and a line of clothes hanging out to dry. The scene does not depict a specific place, but rather a metaphor for contemporary living: the ideal of perfection and control is interruptedby domestic gestures that reveal the vulnerability of existence.
The water, contained and artificial, alludes both to well-being and to the appropriation of an essential commodity. The absence of figures does not imply emptiness: it is a space of projection, where the viewer symbolically inhabits the tension between luxury and precarity.
ESSENTIA I inaugurates the series and defines its language: a territory where light, matter and technology converse to question posthuman architecture and its relationship with what is essentially human.
