2026
3 prisms
3 prisms
creation project
Introduction
Geometry of Interdependence
The 3PRIMAS Installation is an investigation into volume, balance, and the challenge to the topological nature of geometry. It is part of the Impossible series, which began in 2023, and references impossible geometries, where the exploration focuses on representing infinite continuity, the challenge of existence, and the representation of unreal figures in a four-dimensional space. The concept in this installation is based on the physical interdependence of bodies in space, situated between Euclidean geometry and the paradox of the visual. The logic of the impossible object.
Description
The aesthetics of the concrete
TP202519, Analog collage, 16.5 x 22 cm, 2025 From the series Landscape Transformation
Geometric figure of the Three Interlocking Bricks
3PRISMAS is born from the transformation of drawing into matter, from the creation in space of the figure of the “Three Interlocking Bricks,” a geometric figure drawn on a plane. It is a three-dimensional derivation of the principles of the Penrose Triangle, conceived by the artist Oscar Reutersvärd (1915-2002) in 1934 and analyzed by the mathematical physicist Roger Penrose (1931) in the 1950s.
Three Interlocking Bricks deceives the eye through perspective, an apparent representation.
There is a playful element in the genesis of this work. The prisms are not born interconnected; they are assembled in space. The autonomy of the prisms is precisely what is impossible; none of the prisms can be removed without having to release, to disassemble, at least one of them as a closed geometric entity.
Structure and Balance. The work is composed of three rectangular prisms measuring 250 x 150 x 75 cm. Each prism is constructed using wooden edges (rectangular braces), lacking faces to allow observation of the intersecting planes and the movement of one prism through the other. The spatial arrangement is based on the central prism, which rests vertically on the ground, establishing the gravitational axis. This is the foundation of the balance. The other two prisms are suspended by four guides (steel cables), each anchored to the central prism. This balance is not only aesthetic but also mechanical. The tension between the two prisms in equilibrium is what generates a state of repose and calm. If this balance is broken, the system collapses. 3PRISMAS seeks to create the perception of volumes that appear to float, defying conventional coordinates. The impossible object exists in equilibrium between the tangible and the geometrically impossible.
In this production process of the Impossible series, a new concept emerges with the work 3PRISAMS: interdependence and Brunn's Link. There is an interrelationship between the elements such that removing any one of its components frees the rest. In 3PRISMAS, there is also a variant of set theory and equilibrium. This object, which challenges the rules of convention, leads to the existence of a perfect, invisible cube at the center of the intersections of the 3PRISMAS, impossible to visualize due to the absence of faces in the 3PRISMAS.
3PRISMAS avoids the decorative and presents itself as a raw, concrete geometric fact. It speaks of interdependence, of the balance achieved through a cycle of tensions, and as a form of resistance. It does not seek to be a beautiful object, but rather a true object governed by its own mathematical and physical laws. It is, if you will, a romantic demonstration that geometry is the most direct language for expressing the complexity of links.
Description
The aesthetics of the concrete
3PRISMAS is born from the transformation of drawing into matter, from the creation in space of the figure of the “Three Interlocking Bricks,” a geometric figure drawn on a plane. It is a three-dimensional derivation of the principles of the Penrose Triangle, conceived by the artist Oscar Reutersvärd (1915-2002) in 1934 and analyzed by the mathematical physicist Roger Penrose (1931) in the 1950s.
Three Interlocking Bricks deceives the eye through perspective, an apparent representation.
There is a playful element in the genesis of this work. The prisms are not born interconnected; they are assembled in space. The autonomy of the prisms is precisely what is impossible; none of the prisms can be removed without having to release, to disassemble, at least one of them as a closed geometric entity.
Structure and Balance. The work is composed of three rectangular prisms measuring 250 x 150 x 75 cm. Each prism is constructed using wooden edges (rectangular braces), lacking faces to allow observation of the intersecting planes and the movement of one prism through the other. The spatial arrangement is based on the central prism, which rests vertically on the ground, establishing the gravitational axis. This is the foundation of the balance. The other two prisms are suspended by four guides (steel cables), each anchored to the central prism. This balance is not only aesthetic but also mechanical. The tension between the two prisms in equilibrium is what generates a state of repose and calm. If this balance is broken, the system collapses. 3PRISMAS seeks to create the perception of volumes that appear to float, defying conventional coordinates. The impossible object exists in equilibrium between the tangible and the geometrically impossible.
In this production process of the Impossible series, a new concept emerges with the work 3PRISAMS: interdependence and Brunn's Link. There is an interrelationship between the elements such that removing any one of its components frees the rest. In 3PRISMAS, there is also a variant of set theory and equilibrium. This object, which challenges the rules of convention, leads to the existence of a perfect, invisible cube at the center of the intersections of the 3PRISMAS, impossible to visualize due to the absence of faces in the 3PRISMAS.
3PRISMAS avoids the decorative and presents itself as a raw, concrete geometric fact. It speaks of interdependence, of the balance achieved through a cycle of tensions, and as a form of resistance. It does not seek to be a beautiful object, but rather a true object governed by its own mathematical and physical laws. It is, if you will, a romantic demonstration that geometry is the most direct language for expressing the complexity of links.
Views
Production scheme
3PRISMAS is born from the transformation of drawing into matter, from the creation in space of the figure of the “Three Interlocking Bricks,” a geometric figure drawn on a plane. It is a three-dimensional derivation of the principles of the Penrose Triangle, conceived by the artist Oscar Reutersvärd (1915-2002) in 1934 and analyzed by the mathematical physicist Roger Penrose (1931) in the 1950s.
Three Interlocking Bricks deceives the eye through perspective, an apparent representation.
There is a playful element in the genesis of this work. The prisms are not born interconnected; they are assembled in space. The autonomy of the prisms is precisely what is impossible; none of the prisms can be removed without having to release, to disassemble, at least one of them as a closed geometric entity.
Structure and Balance. The work is composed of three rectangular prisms measuring 250 x 150 x 75 cm. Each prism is constructed using wooden edges (rectangular braces), lacking faces to allow observation of the intersecting planes and the movement of one prism through the other. The spatial arrangement is based on the central prism, which rests vertically on the ground, establishing the gravitational axis. This is the foundation of the balance. The other two prisms are suspended by four guides (steel cables), each anchored to the central prism. This balance is not only aesthetic but also mechanical. The tension between the two prisms in equilibrium is what generates a state of repose and calm. If this balance is broken, the system collapses. 3PRISMAS seeks to create the perception of volumes that appear to float, defying conventional coordinates. The impossible object exists in equilibrium between the tangible and the geometrically impossible.
In this production process of the Impossible series, a new concept emerges with the work 3PRISAMS: interdependence and Brunn's Link. There is an interrelationship between the elements such that removing any one of its components frees the rest. In 3PRISMAS, there is also a variant of set theory and equilibrium. This object, which challenges the rules of convention, leads to the existence of a perfect, invisible cube at the center of the intersections of the 3PRISMAS, impossible to visualize due to the absence of faces in the 3PRISMAS.
3PRISMAS avoids the decorative and presents itself as a raw, concrete geometric fact. It speaks of interdependence, of the balance achieved through a cycle of tensions, and as a form of resistance. It does not seek to be a beautiful object, but rather a true object governed by its own mathematical and physical laws. It is, if you will, a romantic demonstration that geometry is the most direct language for expressing the complexity of links.
Production scheme
3PRISMAS is born from the transformation of drawing into matter, from the creation in space of the figure of the “Three Interlocking Bricks,” a geometric figure drawn on a plane. It is a three-dimensional derivation of the principles of the Penrose Triangle, conceived by the artist Oscar Reutersvärd (1915-2002) in 1934 and analyzed by the mathematical physicist Roger Penrose (1931) in the 1950s.
Three Interlocking Bricks deceives the eye through perspective, an apparent representation.
There is a playful element in the genesis of this work. The prisms are not born interconnected; they are assembled in space. The autonomy of the prisms is precisely what is impossible; none of the prisms can be removed without having to release, to disassemble, at least one of them as a closed geometric entity.
Structure and Balance. The work is composed of three rectangular prisms measuring 250 x 150 x 75 cm. Each prism is constructed using wooden edges (rectangular braces), lacking faces to allow observation of the intersecting planes and the movement of one prism through the other. The spatial arrangement is based on the central prism, which rests vertically on the ground, establishing the gravitational axis. This is the foundation of the balance. The other two prisms are suspended by four guides (steel cables), each anchored to the central prism. This balance is not only aesthetic but also mechanical. The tension between the two prisms in equilibrium is what generates a state of repose and calm. If this balance is broken, the system collapses. 3PRISMAS seeks to create the perception of volumes that appear to float, defying conventional coordinates. The impossible object exists in equilibrium between the tangible and the geometrically impossible.
In this production process of the Impossible series, a new concept emerges with the work 3PRISAMS: interdependence and Brunn's Link. There is an interrelationship between the elements such that removing any one of its components frees the rest. In 3PRISMAS, there is also a variant of set theory and equilibrium. This object, which challenges the rules of convention, leads to the existence of a perfect, invisible cube at the center of the intersections of the 3PRISMAS, impossible to visualize due to the absence of faces in the 3PRISMAS.
3PRISMAS avoids the decorative and presents itself as a raw, concrete geometric fact. It speaks of interdependence, of the balance achieved through a cycle of tensions, and as a form of resistance. It does not seek to be a beautiful object, but rather a true object governed by its own mathematical and physical laws. It is, if you will, a romantic demonstration that geometry is the most direct language for expressing the complexity of links.
3PRISMAS is born from the transformation of drawing into matter, from the creation in space of the figure of the “Three Interlocking Bricks,” a geometric figure drawn on a plane. It is a three-dimensional derivation of the principles of the Penrose Triangle, conceived by the artist Oscar Reutersvärd (1915-2002) in 1934 and analyzed by the mathematical physicist Roger Penrose (1931) in the 1950s.
Three Interlocking Bricks deceives the eye through perspective, an apparent representation.
There is a playful element in the genesis of this work. The prisms are not born interconnected; they are assembled in space. The autonomy of the prisms is precisely what is impossible; none of the prisms can be removed without having to release, to disassemble, at least one of them as a closed geometric entity.
Structure and Balance. The work is composed of three rectangular prisms measuring 250 x 150 x 75 cm. Each prism is constructed using wooden edges (rectangular braces), lacking faces to allow observation of the intersecting planes and the movement of one prism through the other. The spatial arrangement is based on the central prism, which rests vertically on the ground, establishing the gravitational axis. This is the foundation of the balance. The other two prisms are suspended by four guides (steel cables), each anchored to the central prism. This balance is not only aesthetic but also mechanical. The tension between the two prisms in equilibrium is what generates a state of repose and calm. If this balance is broken, the system collapses. 3PRISMAS seeks to create the perception of volumes that appear to float, defying conventional coordinates. The impossible object exists in equilibrium between the tangible and the geometrically impossible.
In this production process of the Impossible series, a new concept emerges with the work 3PRISAMS: interdependence and Brunn's Link. There is an interrelationship between the elements such that removing any one of its components frees the rest. In 3PRISMAS, there is also a variant of set theory and equilibrium. This object, which challenges the rules of convention, leads to the existence of a perfect, invisible cube at the center of the intersections of the 3PRISMAS, impossible to visualize due to the absence of faces in the 3PRISMAS.
3PRISMAS avoids the decorative and presents itself as a raw, concrete geometric fact. It speaks of interdependence, of the balance achieved through a cycle of tensions, and as a form of resistance. It does not seek to be a beautiful object, but rather a true object governed by its own mathematical and physical laws. It is, if you will, a romantic demonstration that geometry is the most direct language for expressing the complexity of links.
Production scheme
3PRISMAS is born from the transformation of drawing into matter, from the creation in space of the figure of the “Three Interlocking Bricks,” a geometric figure drawn on a plane. It is a three-dimensional derivation of the principles of the Penrose Triangle, conceived by the artist Oscar Reutersvärd (1915-2002) in 1934 and analyzed by the mathematical physicist Roger Penrose (1931) in the 1950s.
Three Interlocking Bricks deceives the eye through perspective, an apparent representation.
There is a playful element in the genesis of this work. The prisms are not born interconnected; they are assembled in space. The autonomy of the prisms is precisely what is impossible; none of the prisms can be removed without having to release, to disassemble, at least one of them as a closed geometric entity.
Structure and Balance. The work is composed of three rectangular prisms measuring 250 x 150 x 75 cm. Each prism is constructed using wooden edges (rectangular braces), lacking faces to allow observation of the intersecting planes and the movement of one prism through the other. The spatial arrangement is based on the central prism, which rests vertically on the ground, establishing the gravitational axis. This is the foundation of the balance. The other two prisms are suspended by four guides (steel cables), each anchored to the central prism. This balance is not only aesthetic but also mechanical. The tension between the two prisms in equilibrium is what generates a state of repose and calm. If this balance is broken, the system collapses. 3PRISMAS seeks to create the perception of volumes that appear to float, defying conventional coordinates. The impossible object exists in equilibrium between the tangible and the geometrically impossible.
In this production process of the Impossible series, a new concept emerges with the work 3PRISAMS: interdependence and Brunn's Link. There is an interrelationship between the elements such that removing any one of its components frees the rest. In 3PRISMAS, there is also a variant of set theory and equilibrium. This object, which challenges the rules of convention, leads to the existence of a perfect, invisible cube at the center of the intersections of the 3PRISMAS, impossible to visualize due to the absence of faces in the 3PRISMAS.
3PRISMAS avoids the decorative and presents itself as a raw, concrete geometric fact. It speaks of interdependence, of the balance achieved through a cycle of tensions, and as a form of resistance. It does not seek to be a beautiful object, but rather a true object governed by its own mathematical and physical laws. It is, if you will, a romantic demonstration that geometry is the most direct language for expressing the complexity of links.
Month 1
Purchase of materials
Varnishing of braces
Month 2
Assembly of prisms
Stability test
Testing of slings and carabiners
Month 3
Assembly in space
Schedule
Month 1
Purchase of materials
Varnishing of braces
Month 2
Assembly of prisms
Stability test
Testing of slings and carabiners
Month 3
Assembly in space
Month 1
Purchase of materials
Varnishing of braces
Month 2
Assembly of prisms
Stability test
Testing of slings and carabiners
Month 3
Assembly in space
Schedule
GRACIELA FOURASTIE (Buenos Aires, 1963) - Arquitecta y artista visual.
Arquitecta y Urbanista de la Universidad Nacional de Mar del Plata (1990), Se formó en la Escuela de Artes Visuales “Martín A. Malharro” de Mar del Plata.
Profesora de dibujo y pintura. Proyecta y dirige obras residenciales, corporativas e industriales y su producción artística esta atravesada por la relación entre el espacio, materia, memoria y territorio que ella investiga especialmente con la pintura, dibujo e instalación.
Ha desarrollado obras e instalaciones para espacios públicos e institucionales, entre ellas una instalación en el Crematorio del Cementerio de la Chacarita (2020) y producciones para hoteles sindicales en Mar del Plata (2018–2019).
Asistió a la Fundación Guillermo Roux (2010-2016), donde realizó clínica de obra con Ale Roux (2013-2016) y acuarela con Guillermo Roux (2010-2011). Artista residente en la Cité Internationale des Arts, París (2017, Mozarteum Argentino), participo del espacio de formación para artistas Proyecto PAC, Galería Gachi Prieto.
Ha participado en exposiciones individuales y colectivas en Argentina y Francia, entre ellas en el Museo de Arquitectura (MARQ), el Centro Cultural Borges, el Centro Cultural Recoleta, el Palais de Glace.
Obtuvo el Segundo Premio Adquisición de Pintura Argentina del Banco Ciudad (2016) y fue finalista en el Premio Nacional de Pintura de la Fundación del Banco Central de la República Argentina(2015) y en el Salón Nacional de Pintura de la Fundación Banco Nación (2015).
Su experiencia integral en gestión de obra, coordinación de equipos, planificación técnica, cómputo y presupuesto, junto con su práctica artística y conocimiento de montaje, procesos materiales y producción de obra, le otorgan una sólida capacidad para desempeñarse como asistente de producción artística. Combina pensamiento conceptual, organización técnica y resolución operativa, con amplia experiencia en seguimiento de proyectos desde su etapa inicial hasta su concreción final.
Integra el Proyecto El Lobby, espacio de producción y pensamiento artístico.
Vive y trabaja en Buenos Aires y Mar del Plata.