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The Anthropocene series is composed of fingerprints, drawings and sculptures.

The work starts from the questioning about the current utilitarian society and its eminent capacity for self-destruction.

The title mentions the term anthropocene, formulated by Paul Crutzen, winner of the 1995 Nobel Prize in Chemistry. The Greek prefix “anthropo” means human; and the suffix “cene” denotes the geological eras, so anthropocene refers to the Age of Humans, in which humanity multiplies at such a speed that it damages the balance of all natural areas, causing irreparable damage that can become the beginning of the end of your era.

In the work, there is a cluster of closed ceramic cubes resting on a metal rail, like crates, which represent contemporary society. In contrast, there is a set of organic forms, sometimes like roots, sometimes like trees, representing nature. These representations bring the concept of ambiguity, such as geometric and organic; city and nature; life and death.

The shapes are built in superimposed layers, referring to part of Crutzen's concept, in which the Planet will inherit a geological layer of humans that in the future will be covered by the ever-present nature.

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