In her paintings Firmamento, Debora Hirsch tries to reach a harmonic and balanced coexistence for seemingly disconnected worlds. Her aim is to draw attention to hidden realities and subtle interconnections and similarities.

In trying to restore the complexity of the real, she draws on multiple references after a research on apparently unrelated worlds. This results in images that find their meaning at the end of an engineered construction, unfolding in a selection of decontextualized evocative architectural details, decoded artifacts hidden inside the digital language, the apparent ‘natural condition' of symbolic decorative elements, scientific representations, traces from handmade automatic patterns unwillingly quoting the microscopic life and, above all, historic colonialist imagery of the Americas that she relates to the digital colonialism we experience today.

Progressing by hints and deductions, is her favored method in the production of works that link histories, from the past, present and hypothetical future. In her research, elements have suspended significances, meanings are elusive and migrating, and intuition is the act of validation and creation of forms, that emerges by rejecting the temptations of the intellect to understand the new in terms of language, processes and concepts from the past.

She has also been investigating the limits of representation by painting fragments, sceneries and composing video installations. In order to resend the perception towards the network in which we are all interconnected and depending on. Her works are correspondingly related to anthropology, through elaborated snapshots of an ongoing inquiry that includes theories, conjectures, re-interpreting signs and experimenting.

Firmamento is a constellation, a nebula, a conjunction of ethereal bodies finding its intrinsic character through permanent suspension. We seem to be in front of a hologramatic vision that translates into a kind of rebus, an enigma of unexpected meaning for the viewer to be solved. From form to content, from three to two-dimensional, from concrete to ideal, the installation by Debora Hirsch explores the territories of knowledge, the outlines of subliminal mechanisms, the pathways of communication.

Debora Hirsch’s research has always reflected on the perceptive dynamic of the contact between the surface and the substance of the real, there where the mind exceeds its boundaries.

In the site-specific installation developed for MARS, a new point of view and exploration field take place, where even the lighting becomes a perceptive and abstract stimulus: Hirsch builds a space suggesting sometimes a cosmological representation, or in any case a symbolic-philosophical palimpsest that evokes a maieutic force. A monolithic solid modifies the space giving shape to the vacuum that stretches out above it, of which it is a missing part. Finally, a painting depicts a hyperuranic atmosphere in which an architectural structure is dematerialized in organic branches.

Enhancing the void in an unknown space that will host imaginative migrations, through organic shapes and innate automatisms imprinted as brain projections in the material weave of painting the artist exposes a poetic medium that assumes every possible shape, without ontological mediations. The mineral stone gray is the primordial and magmatic lapis in which the invisibility of mental processes takes shape.