Conjuro

Everything is woven in the subtle dance between chaos and order; fluidity and structure coexist in balance, overflowing and containing each other, Heaven and Earth unite in the same space-time. In that back-and-forth where limits are challenged, the artist’s creative process is revealed as a mirror of existence itself; and so, as the Tao, which is at the same time light and shadow, emerges marking the beginning of a journey of introspection.

Agustina proposes that we witness a process, her own process, and perhaps also, that of someone who begins a path of search towards the attempt to decipher or understand, even if it is inevitably partial, the complexity of existence.

Under a great influence of Japanese aesthetics, Taoist philosophy and after long conversations with the I Ching, the pieces gathered here seek to reveal the essential of the world and the substance of each element. In these landscapes, the clouds seem to inhabit the mountain, as if nested inside it, while the water stirs above it.

They are rhythmic, complex and intriguing scenes that the artist configures by invoking a wild nature that, although it follows its own principles, is structured under the order that she suggests.

Chaufan, as an alchemist and magician of her work, uses the pencil to propose a system through grid layout. In each square, it seems that he explores the dialogue between the rigid and impenetrable doing and the natural fluidity of the universe. In this way, he works by creating spaces with the intention of organizing chaos almost as if it were a magical spell.

The captivating thing about this fragmentation is that it also gives the pieces a mutable and playful character, since they do not have a single determined way of being, but instead embodies multiple possible configurations. Depending on how its layout is arranged and how one entrusts oneself to destiny, it will be its final form.

Thus, the dialectic presented in the room ceases to be a mere aesthetic intention or just a visual game, but rather becomes a reflection of that search for meaning. Where each work—structured through the square as a symbol and unit of creation—acts as a story in itself within a larger narrative.

At the end of the hallway, perched on black velvet, a piece appears that seems to mark a turn in the atmosphere and manifests itself as a whisper that asks for attention. The oracle has spoken for the last time: this is a space of reflection, a final point. Here, golden fragments shine like traces of light in the darkness, calm reigns and emptiness fills everything. It is not only the closing of a cycle, but the promise of a return.

The spell, then, is not presented as an improvised or random act. It is a process in continuous movement, a way of inhabiting consciousness. Agustina Chaufan, in dialogue with her own transformation, rewrites at will the reality she wishes to contemplate and invites us to inhabit it with her.