Pablo Agma

A 16mm portrait of actress Paz de la Huerta, evoking the faded glamour of old cinema. A deteriorated film featuring a Rita Hayworth–type woman trapped in time.

Come a little closer to the broken angel and watch the light burst open.

'Bomarzo Tremor' draws from the Sacro Bosco of Bomarzo, Italy, to imagine a seismic awakening of its sculptures, an image-tremor that shakes them out of stillness. The film triggers this quake through analog techniques that alter the celluloid, making what is petrified seem to move, and letting the tremor spread into the town itself.

The figure of the warrior, embodying universal values, is inverted and simplified, oscillating between opposites. Light and shadow exchange places to reveal a new outline from the same symbolic configuration. By removing the battlefield from the image, warlike gestures are revealed as dance, and the archetypal masculinity becomes blurred.

Gestated in the fibers of environmental exploitation and the gears of capitalist machinery, the wooden man emerges as a personification of the fears and complexities of our era. We witness fragments of his existence in a film disguised as a defective and forgotten VHS tape, documenting a solitary struggle for survival in a world that both creates and rejects its own monsters. A recording of a performative intervention in public space, where the artist himself embodies a contemporary monster. Cloaked in a minimalist disguise, his presence disrupts the city's rhythm, creating small circuit breaks in the perception of passersby.

A 16mm portrait of actress Paz de la Huerta, evoking the faded glamour of old cinema. A deteriorated film featuring a Rita Hayworth–type woman trapped in time.

Come a little closer to the broken angel and watch the light burst open.

'Bomarzo Tremor' draws from the Sacro Bosco of Bomarzo, Italy, to imagine a seismic awakening of its sculptures, an image-tremor that shakes them out of stillness. The film triggers this quake through analog techniques that alter the celluloid, making what is petrified seem to move, and letting the tremor spread into the town itself.

The figure of the warrior, embodying universal values, is inverted and simplified, oscillating between opposites. Light and shadow exchange places to reveal a new outline from the same symbolic configuration. By removing the battlefield from the image, warlike gestures are revealed as dance, and the archetypal masculinity becomes blurred.

Gestated in the fibers of environmental exploitation and the gears of capitalist machinery, the wooden man emerges as a personification of the fears and complexities of our era. We witness fragments of his existence in a film disguised as a defective and forgotten VHS tape, documenting a solitary struggle for survival in a world that both creates and rejects its own monsters. A recording of a performative intervention in public space, where the artist himself embodies a contemporary monster. Cloaked in a minimalist disguise, his presence disrupts the city's rhythm, creating small circuit breaks in the perception of passersby.