In ESSENTIA X, the perspective is reversed. For the first time in the series, I observe architecture from an interior space: a frame within the painting that marks the boundary between the ideal and the real. The human figure has disappeared, but its presence is suggested in the traces—the light, the reflections, the laundry hanging out to dry that disrupts the architectural purity.
As in Velázquez's Las Meninas, the viewer becomes part of the scene and questions their ownposition. It's not just an interior view, but an invitation to think from within.
From a posthumanist perspective, the work reflects on the relationship between human beings and the space they inhabit. Critical minimalism functions here as a language of restraint: each plane, shadow, and reflection reveals the tension between matter, consciousness, and environment.
ESSENTIA X does not represent a physical place, but a state of mind: an inner architecture of thought.
