COAGVLA draws from the alchemical principle solve et coagula (dissolve and recombine) as a gesture of transformation. Matter is broken down, fragmented, and suspended, only to be reassembled into a new, hybrid state. Echoing both alchemical transmutation and the psychic processes described by Jung, the work considers dissolution not as loss, but as a necessary passage toward reconfiguration, where disintegration becomes the precondition for a different form of coherence.

Within this framework, the installation unfolds as a series of dystopic organic architectures: encapsulated matter held in glass, forced into a liminal condition between the living and the non-living. What happens when decomposition is interrupted, when matter is denied its cyclical return? The works inhabit this suspended interval: an “in-between” state where organic and inorganic merge into unstable hybrids.

Through folds, wrinkles, and rhizomatic transparencies, the pieces evoke suspended organs and fragmented bodies, dispersed across space as if held in a state of temporal arrest. Forms appear dissected, dismembered, and later reassembled into new constellations—quasi-surgical arrangements that oscillate between care and control. These gestures produce bodies that are neither whole nor entirely broken but continuously negotiating their own thresholds.

Materially, the tension between glass, stainless steel, silicone, thread, and pigmented water reinforces this condition of instability. The installation generates a sensorial field where boundaries blur: between body and machine, containment and leakage, stasis and movement. In doing so, it suggests a fragmented temporality and a kind of non-human memory, where matter itself becomes the site of transformation, retention, and re-articulation.

— Lena Becerra