… The representation of maternity is given by the drawing of the labyrinth, symbolic of the uterus. For the mesopotamians, the ball of thread held in the abdomen is the sacred space of conception, the centre of all life…
Giovanni Semerano – The Infinite: a millenary misinterpretation (2001)
The work takes its place within an enclosure on an open plaza, encircles by the facades of the surrounding buildings. The fence is formed of ‘samples’ of those very facades, which, mutely, see themselves reflected in the design. This enclosure is an open, available space – almost an architecture, a place that protects, a place through which to transit or within which to dwell, a place to meet and to watch. It is an open/closed space. It is open to people, to light, to being visited, to the landscape. It is a space offering solace, offering shade, while all the time framing its surroundings.
Seen from the outside, it is a portion of geometric, twisted space: a slice of facades reminding us of the slice of life that take place therein. It reminds us of life within the home, a space where we cannot get lost other than through sight, though piercing through the windows. It proposes itself as a central space for those who inhabit the surrounding homes, a space open to collective reinvention, open to solitary or group encounters under the tree (perhaps standing with one’s back to it, feeling its quiet pressure) or on the flat barnyard (where once upon a time people would meet, to make sure the wind swept in the wheat).
Here they are! Two peasant motifs intertwine in the enclosure – the tree and the plateau. Vital, harmonious motifs protected by walls covered in geometric fretwork. The work of art transforms the entire area of the city into a complex relationship: the neighbourhood becomes a labyrinth. As we weave through it, we search for its hidden heart.