NAGORI
NAGORI encapsulates the relentless progression of time, a concept that is both universal and inexorably forward-moving.
This series of seven black wood sculptures originated as digital three-dimensional forms, meticulously shaped by the dance movements of a local Sumbanese dancer. The dancer's body served as a sculpting tool, molding space itself. The motion was captured by camera and AI and translated into data. This data was subsequently transformed into physical wood sculptures.
At the heart of NAGORI is the fleeting nature of existence, a focus on capturing the linearity of time through dance. This body of work converts time and space into tangible objects, embodying the ephemeral in a permanent form.
The presentation of the seven sculptures as a horizontal line, suspended above the floor, symbolizes the continuum of movement and time. It represents a tangible timeline that knows no beginning or end, eternally expanding in both directions.
NAGORI marks a transitional phase in Ophelia Jacarini's practice, concluding her decade-long sojourn in Asia and her return to her hometown of Paris. The title itself is an allegory to the sense of nostalgia. The emotions associated with leaving a part of the world that has profoundly influenced her work over the past ten years. "Nagori" literally means 'remains of the waves' in Japanese, evoking the lasting impressions left by waves on the shore, much like the indelible mark of Asia on Ophelia's past a future works.
Created on Sumba Island during her residency at Cap Karoso, NAGORI is the culmination of her time living and working in Asia.
As Ophelia Jacarini delves into the imperceptible, beyond the realm of our senses, NAGORI explores concepts that are both familiar and ephemeral.
Her fascination with how dance can shape space results in representations that are open to individual interpretation, inviting viewers to find their own meaning in the transient and temporal.
