MUDAR unfolds as an immersive sculptural and moving-image installation rooted in a process of shedding within a salt mine in southern Spain during a residency at AADK. Formed through touch, salt, water, sound, and sunlight, the sculpture appears as a living skin—porous, luminous, in motion—carrying traces of bodily presence and erosion. Drawing from Ibn Arabi’s concept of Barzakh—the threshold between presence and dissolution—the work approaches skin as a site of passage where material, spiritual, and temporal states overlap. Molting becomes both action and condition: a slow negotiation between holding and release, weight and lightness, endurance and emergence. The multimedia work extends this threshold through slowness and macro vision, inviting a microcosmic drift where skin becomes both border and passage.
Strange beings appear. They shed their skin, writhe through space. I become this being, wrapped in translucent membranes of pain, ancestral memory and brilliance.
MUDAR | Duration: 7 minutes 21 seconds | Format: Digital | Aspect ration: 16:9 (1440 × 800) | Sound: Stereo
The film extends this inquiry through an experiment in cinematic perception. Shot within the vast salt mine, it explores shedding as a physical, psychological, and temporal process. Slowness, breath-led movement, and shifting focus create a space where haptic texture meets medial instability. A silver figure appears—echoing visions of 1950s science fiction, where imagined futures now surface as layered pasts—raising questions around the body, technology, and perception. Inspired by John Cage’s As Slow as Possible, sound and image stretch time into a sensorial field where the earthly and the virtual meet through gaze, vibration, and breath.
MUDAR offers a slow, immersive encounter in which body, material, and landscape remain in continuous transformation—hesitant, luminous, and unresolved.
