medina zabo

who’s the intruder? who really did it?  i endeavor to get over an anthrocentric view around the framework of my artistic approach, focusing on the metamorphosis of elements as a metaphor of social patterns. it’s due to performances of nature or by human manipulation?

the human mindset is able to determine processes. phenomena of nature get quidditative codes studied by men since the ancient times: to imitate and categorize as an attempt to feel in control of it.

the ladies –  so i call bees – had come in a tricky moment of my life, right after i gave up my job as journalist much so words failed, not enough for my seeking. i’ve always been interested in anthropology and how humans and envinroment relate to each other.

thus, a six-month cohabitating with the ladies has been a meaningful experience to lead all my doubts towards communication schemes and lacks within human communities, even more studying decades researches of biologist karl von frish and afterwords of further ones currently working (as menzel group biologists).

it has been well known inferred that chemical connections are a baseline in data trasmissions both in humans and bees (moreover notably among other insects), not only as a biologic topic.

bees and humans’ societies are in touch so anciently, since the great mother had been depicted as an halfbody bee woman. current hive frames (so similar to a page) were patented during the first industrial revolution to enhance bees’ performances. then the metaphor of beehive has been utilized in urban and industrial architecture; in art. perhaps improperly engaged by social control systems.

scientists could know enough. my artistic approach evolves by scientific data to set connecting process among different materials, either throughout an archetypical attitude or depending by physiological similarities.

main matter is parasitized beeswax, a special kind of wax by organoleptic characteristics, gained or purchaised from dismissed beeframes (useless to productive purposes). galleria melonella moths colonize bees cells: if the family of bees is in a good state, there’s no disease for the hive, larvae don’t overcome  and they could even cohabitate with the colony. on the contrary, if bees are ill (and an intrusive anthropization may really affect), the whole hive perishes in less than a week, bees die or have to swarm somewhere else.

we call larvae as intruders: they actually build a new scenario. as men have been doing widespreadly on earth. to build own’s habitat, at the expense of other macrocosmos.

sculptures become a baseline towards new possible scenarios, in the forms of metamorphosizing or iconographically referred. i set process and materials, bees may come to mold and trig the surface taking away all leftover nutrients; moths may colonize cells cyclically so the pupae play a new trim before turning again nymphs.  chemicals and additives work their role. consequently, the final result  is an arrangement by different codes and actors. really did it men?

alongside parasitized beeswax, i let dialogue masculine materials, as archetypical symbols of development likely based on a form of colonization and borrowed by the building sector: stainless steel above all, metal sheets from dismissed huts, travertine and sedimentary stones, glass wool, steel wool, paraffined wax. they whole belong with fire, mistification. not the least, i use porcelain – raw and fired one – closely connected with levi strauss’s cosmogonia of pureness and degeneration of matter and symbol of a tamed habitat.