Unfinished – flora aimbire

UNFINISHED

URRO EXHIBITION

@2017

A visceral sculpture that explores emotional collapse through form and material. Made of fiberglass, resin, and large nails, Unfinished hangs from the ceiling by chains and ropes, evoking the suspended weight of pain and silence.

The work was developed from both personal experience and philosophical studies on the sublime and the limits of beauty. It invites viewers into a space of discomfort, where absence, violence, and vulnerability coexist.

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Concept | Execution | Installation

Visual concept and approach to bridge the disciplines of visual arts,

philosophy, and installation, crafting an experience that is as intellectually

potent as it is emotionally charged.

Thanks to:

Felipe Pacheco (photographer)

Role:

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the vision

A raw expression of emotional intensity,

Unfinished explores the suspended state between pain and silence. The piece confronts the viewer with a body that feels both present and absent, evoking a deep, almost uncomfortable sense of vulnerability.

It’s not about resolution—it’s about staying with the wound.

the concept

Inspired by philosophical reflections on the sublime and the instability of beauty, the work investigates emotional rupture through the body. Influences from thinkers like Kant, Burke, and Hume shaped the idea of using tension, absence, and violence as aesthetic tools to provoke a sensory and reflective experience.

the craft

The piece is approximately two meters tall and made from fiberglass, resin, and large nails. Suspended from the ceiling with chains and ropes, its physicality evokes the weight and stillness of a corpse. The materials were chosen for their harsh texture and symbolic power, creating a contrast between fragility and brutality.

why it matters

Unfinished brings visibility to emotions often hidden or dismissed—grief, rage, numbness, and vulnerability. In a world that often demands clarity, healing, and productivity, the piece refuses those demands. It holds space for what is unresolved and insists that these states also deserve a voice. It challenges the viewer to recognize that beauty doesn’t always reside in harmony—sometimes it lives in rupture.

possibilities for today

As mental health, trauma, and emotional language gain overdue space in public discourse, Unfinished becomes increasingly relevant. It can be reactivated in contemporary spaces—galleries, public interventions, or multidisciplinary conversations—where the body, silence, and emotional survival are central themes. The work invites reinterpretation, not as a relic of past pain, but as an ongoing scream many still carry quietly.

In the suspended figure of Unfinished, we are not invited to look—we are compelled to feel. This work resists classification under the simple notion of “beauty.” Rather, it pushes us toward the realm of the sublime—that which overwhelms, unsettles, and destabilizes the viewer's senses.

Drawing on Immanuel Kant’s concept of the sublime as a form of disinterested displeasure, Unfinished situates itself not in the aesthetic comfort of form or symmetry, but in the raw confrontation with emotional excess. The nearly two-meter-high body—stitched from fiberglass, resin, and pierced with nails—becomes a grotesque form that borders on the abject. Hung by chains and ropes, it is not simply suspended; it is restrained, like a scream that never quite escapes the body.

In this tension, the viewer’s faculties are torn: the imagination cannot resolve the disfigurement into harmony, and yet it is precisely this irresolvability that awakens aesthetic judgment. The figure is incomplete, and therein lies its power. Like Hume’s proposition that beauty is not inherent to objects but emerges through the affections of the subject, Unfinished exists in the space between the artwork and the viewer’s wound. It reflects, not a narrative, but a shared sensory chaos.

If we consider Burke’s idea that the sublime strikes through the senses to move the mind, Unfinished operates mechanically and metaphorically. The nails are not decorative—they are violations. The texture of resin and the translucent shell evoke skin without substance, a presence without agency. We are drawn in by the uncanny familiarity of the form, yet repelled by its state. The body becomes a metaphor for emotional entropy, where the absence of order becomes its own system.

Displayed at URRO—a word that, in Portuguese, refers to a guttural, unfiltered scream—the piece finds a natural home. It does not whisper meaning, but howls it. Yet its message is not didactic; it is affective. The aesthetic experience here is democratic in the most radical sense: no interpretation is final, and every viewer is pierced differently.

In a time when art often seeks resolution, Unfinished dares to remain open, unresolved, and violently present. It is not merely an object of contemplation but an invitation to confront one’s own fractures.

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