(…) By imprisoning under resin the cotton -living matter- fate is captured, the character of being of the plant life still alive, and change is crystallized.

This cotton is not raw, compact material, but well-worn before the resin is poured: it becomes then impossible to reclaim the past, in the manner of a rehearsal or a dressmaker’s fitting; its fate is permanently set, a petrification of the frail one might say. Once emblematic of contingency, it is set free of such.

The frayed cotton is a way of dressing the work, to awaken it not to color but to the chemistry of its multiple composition, of heterogeneous materials: ceramic, porcelain, resin. The frayed cotton or how “materiality here reaches extreme thinness, without renouncing its solidity; it seems cut apart. The fabric flutters and ruffles, but has simultaneously lost, along with rigidity, its compactness and continuity”2.

Ali Benmakhlouf