and in ____ we can finally rest

site-specific installation made of photographs 

A direct reference to the starry skies frescoed on the vaults of medieval churches, such as Giotto’s starry vault at the Scrovegni Chapel (1303), and in ____ we can finally rest offers a reinterpretation that nods to early 2000s blogs about paranormal phenomena, New Age beliefs, and UFO conspiracies. The celestial firmament with its winged saints is replaced by a ceiling covered with printed images of orbs1 found on the internet. The photographs are printed on regular office paper and taped to the ceiling with clear tape, emphasizing their imperfections, edges, and low image quality, with the aim of recreating a space for compulsive archiving and study of the phenomenon, drawing on the lo-fi and handmade aesthetic of paranormal blogs2.

This seeks to highlight a shift from Christian mysticism to a new kind of fragmented and individualized spirituality born in the new millennium blending: pop culture, fascination with the occult, capitalism, apocalyptic fears, and an ambiguous spiritual rebirth. The orbs, often associated with spirits or extraterrestrial entities, represent a new kind of divine or mystical presence—one that is ambiguous, elusive, and mediated by digital imagery. In the site-specific installation, the vastness of the celestial vault— the sublime divine presence—takes the form of a nocturnal expanse of luminous spheres and spectral landscapes, confronting us with unnamed voids and renewed obsessions.