MINORIA III: Found Trace

MINORIA — Chapter III: Found Trace marks a shift from construction towards recognition.

Rather than establishing form, the work begins by encountering a trace that is already present. On the Lido, at the threshold between sand, water and horizon, an accumulation of shells appeared not as a composed intervention, but as a found configuration — as if the work had preceded its own articulation.

In this chapter, MINORIA does not produce the image. It acknowledges it.

The project moves away from the logic of formation and enters a condition of reading — a state in which meaning emerges not through construction, but through attention. What is encountered is not arranged, but recognised as already holding a latent structure.

The shells assume an almost archaeological dimension. They are not simply natural remnants, but carriers of duration — residues shaped by movement, pressure and time. Their accumulation does not resolve into composition; it reveals a field in which order appears without intention.

Material here is not activated through gesture, but through presence. The work does not impose itself onto the environment; it aligns with what has already taken place.

Found Trace establishes a condition in which form precedes interpretation. The image is not constructed — it is disclosed.

Within the broader framework of MINORIA, this chapter introduces a crucial displacement: the trace is no longer the result of an action, but the point of entry.

The shells were subsequently brought into the gallery space, where they were no longer encountered within their original environment, but repositioned as a field of attention.

This displacement does not transform them into an object of display. Rather, it shifts the conditions under which they are perceived. Removed from their context, the shells retain their material history, while entering a different order of visibility.

The work does not reconstruct the site. It carries its trace.