PARIS.- Portals to Unwritten Time begins with the premise that art can serve as a threshold across time. The works in the exhibition open new portals—toward spirit, memory, myth, and philosophical knowledge.
The participating artists do not only look ahead; they move sideways through history, delve into the body, and project outward toward the unknown.
A guiding inspiration for this journey is Hilma af Klint. For her, time did not flow in a straight line but spiraled—mystically, symbolically, through unseen realms. She envisioned her paintings as tools, diagrams, and portals—structures meant to speak one day to a more receptive future.
The portal, in this context, is both metaphor and method. It is a visual and conceptual threshold—a symbolic opening through which new forms of knowledge may emerge. That knowledge is nonlinear, embo- died, and often poetic—born of intuition, memory, and the invisible.
The exhibition features a constellation of artists who each, in their own way, activate this threshold:
Tuan Andrew Nguyen presents Tear and the Kinetic Bamboo Curtain Sculpture, exploring temporal, political, and material realms through movement and layered imagery that evoke memory as both fragile and dynamic—sites of resistance, trauma, and healing, where the bamboo structures embody contradiction and invite reflection on histories of conflict and survival.
In Isabelle Albuquerque’s Venus Rising (2024), mythic femininity and erotic intelligence surface through a surreal and uncanny sculptural form. The work becomes a sensual portal—bridging the intimate and the archetypal, where the body is both a threshold and a mythic ves- sel.
Chiara Camoni’s ritualistic sculptures channel an animist sensibility, dissolving boundaries between object and spirit. In this exhibition, two towering sculptures stand as a portal—an embodied portal between the earthly and the unseen.
Anna Perach weaves dream and history into atmospheric reveries where intimacy meets rupture. In Dismembered Venus and Gateway (2023), broken bodies and silent structures become passages into longing, myth, and the unfinished language of the subconscious.
Tecla Tofano, a vital feminist voice from Latin America, brings fierce material humor to themes of gender and ritual—offering a portal to feminist pasts still resonating.
Emanuel de Carvalho appears in quiet resonance, as if tuned to frequencies just beyond perception. The portrait, like his practice, beco- mes a portal of attunement where vision is not passive reception but an active, metaphysical unfolding.
Tarek Lakhrissi presents sculptural works that serve as thresholds inviting viewers into reimagined queer futures. His glass-blown sculp- tures evoke sensuality and resistance, transforming everyday forms into symbols of desire and belonging.
Emma Prempeh paints with spectral tenderness, layering memory and space in gestures that feel both ancient and spiritual. This work becomes a portal of longing and connection—a window through which love, once distant and wordless, found its path toward a shared future.
Kiki Xuebing Wang’s diptych unfolds like an emotional tide—tender, elusive, and quietly radiant. Swells of color and drifting forms carry the weight of half-remembered dreams, where branches reach and moons hover like feelings just out of reach. Her work becomes a portal into the intimate and ineffable—a space where memory breathes and the heart sees what the eye cannot.
Norberto Spina reveals subtle, deeply textured worlds through layered surfaces that hold time like sediment, crafting paintings that act as portals to shifting memories and hidden stories, inviting viewers to explore fragile intersections of personal and collective histories.
Beatrice Arraes weaves texture, organic form, and bodily reference into thresholds spaces where ritual, psyche, and nature meet. Her works unfold like games of fate and imagination, where play becomes prophecy and form becomes a portal.
Alessandro Twombly’s works on paper bloom with spiritual intensity, evoking floral forms and cosmic rhythms—portals of energy where nature and the sublime converge.
Samuel Sarmiento weaves cosmology and myth into symbolic worlds, where cyclical time and cultural myth open portals to origin, spirit, and boundless imagination.
Theresa Weber creates rich, symbol-filled environments that function as sacred archives. Her works blend Afro-diasporic iconography with science, forming ritual spaces where ancestral, futuristic, and mythic energies converge—portals of remembrance and projection.
These works invite viewers to pause, to listen—to imagine that time is not yet fully written and that understanding is still unfolding. They call for presence, openness, and trust. They are not declarations—they are doorways: quiet thresholds for reflection, attunement, and the possibility of deeper insight.
