STATEMENT

“The composer of voids” arises from a constant and elusive sensation: that of absence. An absence that is not merely a lack, but becomes an invasive, almost tangible presence. Like a void that demands attention.

The work takes shape from a memory: listening, as a teenager, to Gymnopédie No.1 by Erik Satie — a melody that seems to give voice to a pain not yet understood.

In the painting, the first real notes of the composition are faithfully quoted, with the subject’s fingers placed in the correct position, despite the instrument being overturned and unplayable. A piano flipped upside down thus becomes a symbol of an impossible search, of a poetic and desperate gesture: playing silence, seeking sound where it cannot exist.

The work tackles themes of failure, denied identity, the incongruity between who we are and who we might have been. But it is also an exploration of the beauty of not knowing, of seeking without the guarantee of success — the human and vulnerable act of trying.

“The composer of voids” speaks of a mind that fills silence with obsessive thoughts, engineering mechanisms of fear capable of turning every space of possibility into a threatening void.

An invitation to recognize the cruelty we inflict on ourselves.

And to ask ourselves, with honesty:

What would have happened if we had had the courage to listen to that silence, instead of filling it with fear?