INTERSECTION

is a zone of impact between images that resist occupying a stable place. Painting and video do not illustrate one another nor merge into a synthesis; they confront, shift, and create tension. The project proposes a space in which the image ceases to be a surface for reading and becomes a bodily experience.

Vanessa Pey’s projections abandon the condition of the screen and expand into the architecture, fragmenting the gaze and disabling any narrative path. Paolo Maggis’s paintings, far from functioning as autonomous objects, act as opaque bodies that interrupt light, absorb it, or reject it. Between the two practices, a relationship of constant instability is established: no image dominates, no language prevails.

The body—central axis of the project—does not appear as identity or as a recognizable figure, but as affected matter. Fragmented bodies, suspended gestures, and decentered anatomies construct an iconography that does not seek representation, but presence.

Intersection is part of a contemporary practice that understands the image as a situation rather than an object, and that conceives the viewer not as a distant observer, but as an involved body. The work is not contemplated: it is traversed.

The collaboration between Maggis and Pey implies a deliberate loss of authorial sovereignty. The images do not preserve their integrity; instead, they allow themselves to be contaminated, deformed, and displaced. In this process, the work becomes a provisional, vulnerable organism in constant transformation.