2023-2026
Impossible
LOOP
mdf, plaster, paint, mirrors. 65 x 73 x 65 cm, 2025
Selected sculpture: 69th Manuel Belgrano Fine Arts Salon, Sivori Museum.
Buenos Aires, Argentina. December 2025
“In all figurative art, recognition is a basic condition.
We must recognize what is represented in an image
for the artistic intention to be realized.
And recognizing the motif in an image means identifying it
with aspects of reality that we know through experience.”
Chris Mortensen,
The Impossible Arises:
Oscar Reutersvärd and his contemporaries, 2022
The visual possibility of the impossible.
This is a project exploring the geometric world we inhabit, a complex perspective of the universe that challenges our intellect. A four-dimensional space where the three spatial dimensions coexist with the dimension of time. Geometric figures that can be created on a plane, but are impossible to exist in space. Three-dimensional bodies that float and define the coordinates of spatial geometry: height, length, and width, where time is also incorporated as a fundamental axis. Representing these objects in two-dimensional images is possible. So, what exactly is the contradiction? What is impossible is materializing these images in space. Through almost mathematical exercises, these works, created with analog methods and artificial intelligence, present us with a transformed image, where the result of these equations is not consistent with traditional Euclidean geometry. The incorporation of the time coordinate generates questions and uncertainty in the interpretation of what is being observed. It is an artistic production where modern concepts, impossible to create in ordinary space, are represented through contemporary construction. The infinite loop is explicit not only in the geometric figures but also in the creation of works generated from an image in two different dimensions or from the image itself. This cycle invites reflection on time, space, the absence of external limits, the interconnectedness of all things, and the cyclical nature of the universe. Santiago Estellano, 2025
Septiembre 2025
Impossible
show - ALMACÉN 47, CENTRAL AFFAIR
The rhythm does not depend on the walker but on the clock.
The universe presents us with infinite challenges to which we are exposed daily in our everyday activities. Mathematical, physical, and chemical theories can explain its workings almost perfectly, but not entirely, and that is where the social sciences and humanities make their contribution. Even religions uphold the universal framework, and each person clings to the explanation that guides their life. Every step we take, anywhere in the world, invites us on a journey in four dimensions, and the best example that describes this is climbing—or descending—a hill or a mountain. As we ascend, we traverse the x, y, and z axes of three dimensions, but time also continues to advance, even though we are not aware of it at every moment. These four variables can be combined, but it is impossible to equate them: the first three expressed in units of length, the fourth precisely in units of time. One can choose what place to occupy in three dimensions and thus control space, but one can never control time, nor stop it, nor slow it down. Estellano infuses his practice with enough geometry to create interventions composed of small fragments of figures that lead to something else entirely. He does so subtly, generating transparent depths where the true background of the image is often visible, lending lightness to the plane, which seems to transform into space. The impossibility lies not in recognizing the scenes, the created images, but in believing that time is cyclical, when in reality it is a true loop that advances constantly. Santiago creates a spatial geometric fiction where he mixes images from different times, yet he cannot stop it. We believe that time is cyclical because its units of measurement are, but in reality it is an infinite spiral along which we move, where the rhythm depends not on the traveler but on the clock. Leo Mayer, September 2025
SOUND CONNECTION
Sound of singing bowls as a time coordinate
PERFORMER: FLAVIO PAZOS Impossible explores four-dimensional space. Resonant sound expands and fades within space, becoming a tool for representing time. Duration, cadence, and echo are physical and tangible manifestations of the passage of time. Auditory cycles engage in dialogue with the visual loops of the works. In this context, the singing bowls generate uncertainty and questions about the meaning of what is being contemplated. It is not a meditation, but a sound performance where the audience is free to interact with the sound in a purely perceptive way. The focus is on listening, feeling the vibrations, and connecting that sound within space. Just as there is diversity in the production of the works—collages, artificial intelligence, and sculpture—the singing bowls act as an analogical and ritual medium that engages with contemporary concepts of the four-dimensional. It is a way of anchoring the concept of the ancestral and physical in the face of the mathematical abstractions of impossible figures. Santiago Estellano, 2025 About Flavio Pazos He has dedicated himself to sound therapy for four years, using ancestral instruments including gongs, Tibetan singing bowls, shamanic and ocean drums, quartz crystal bowls, and samafones, among others. He provides participants with a safe and reliable space that allows them to be guided by vibration and sound on a sensory journey. He has studied in Chile with Matías Giménez Hutton and in Uruguay with Verónica Lattice in Velomancy and Agni Yoga. He is a yoga instructor and studies how sound and vibration affect the physical body.