In a bright, colorful surrealist scene, decontextualized metal and plastic objects, charged with childhood reminiscences, take the place of absent bodies, like modern relics. They seem to come alive, taking part in an enigmatic staging, actors in a construction site without beginning or end, as if fixed in a loop.
So many centuries and not a single memory evokes the progressive substitution of artifacts for the living in our contemporary world. The living only emerges in the form of distant evocations, and the strangeness of the scene unfolds in an oscillation between anguish and hope.
Through the threads of Davidovici and Ctiborsky, all figuration is strangely present and tactile, surfaces and light alike. Their embroidery establishes a metaphysical equivalence between the body and its simulacrum, the divine and the profane, memory and oblivion. In the world they draw, saturated with materiality, a quest for transcendence emerges through the countless meticulous gestures of embroidery, charged with slowness and almost forgotten themselves. The living world slips away, but the gesture persists.