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𝒅𝒊𝒗𝒆 𝒊𝒏𝒕𝒐 𝒎𝒆


is a transmedia installation that operates as a portal of lesbian futurity, suspending two figures in an eternal loop of desired contact, where sculpture, video, and sound converge into a field of sensual attention that seduces the visitor into the queer horizon of the yet-to-come.




DIM as a portal, a site of passage between the real and the ideal, wherein the space of the gallery becomes a terrain saturated with longing, with the anticipatory charge of contact forever imminent and forever deferred. A screen anchors the installation: on it, a video loop of nine seconds, two figures floating on water, moving toward one another, converging on a kiss that the loop perpetually forestalls. Before their lips can touch, the current pulls the sequence back to its origin. The desire circulates, never discharged, always regenerating. This is libidinal economy in its most affirmative form, desire as a productive force, as what Deleuze and Guattari understood as pure positivity, a flow that does not require its object to be consummated in order to remain generative, operative, alive. The installation does not mourn the unfulfilled. The installation pulses with it.

Superimposed over the figures, fragments of a poem: dive into me. The same words surface across the nine resin sculptures arranged around the screen, water appearing to leak from the letters themselves, as though language here is not symbolic closure but an open channel, a conduit whose banks perpetually overflow. The sculptures float toward the visitor at eye level, meeting them fully, soliciting their complete attention. An ambient soundscape of walking through water fills the space, and beneath it, a voice, soft and insistent, calling: dive into me. The installation addresses the visitor directly, drawing them into the field of its desire, initiating the reciprocal process of seduction that Simone Weil recognised as the highest form of attention. For Weil, attention taken to its furthest degree becomes prayer, an unmixed, total orientation of the self toward the other. The sculpture performs exactly this: she asks for your full presence. She offers hers in return.

Seduction, understood here as a radical phenomenological act, dissolves the distance between subject and object, between the visitor and the work. It is presence meeting presence, the mutual recognition of two beings floating in the same ocean of sensation. The installation's logic is hydro-spatial: everything flows, everything seeks confluence. The queer aesthetics soaked into the work have eroded its edges over time, smoothed its crevices, made it yielding and soft. Water has been the agent of this transformation, turning form into an expression of love.

dive into me draws its theoretical sustenance from a full and unapologetic feminine, queer-centric archive, a confluence of currents that runs from Simone Weil and José Esteban Muñoz through the distributed intelligence of girl theory as it circulates on Substack, in notes-app poetry, in the Tumblr archive, in the essayistic and prophetic vernacular of online queer culture. Muñoz understood queerness as a horizon, something felt and anticipated, a structure of futurity that the present can only approximate through the aesthetic and the relational. dive into me inhabits that horizon deliberately. The video loop does not represent failure. The loop is the form of queer desire itself: the not-yet held open as the most fertile temporal structure available, the spring that keeps running without needing to arrive at the sea.

The installation is also an archive made material. The research that generated it poured through the floodgates that digital culture has opened to previously silenced voices, letting the girly research run full force, liberating the work from man-centric canons and allowing a new theoretical ecology to accumulate. What emerged is a sculpture soaked in these streams, a resin figure that holds the accumulated pressure of collective longing, that leaks it back into the space as water, as sound, as invitation.

The portal is open. The figures keep floating toward each other. The viewer, standing inside the current, is already inside the merge.

you can see my heart overflowing, towards you ‧͙⁺˚*•̩̩͙


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please have a look through my entire masters diploma thesis here....