Morphogenesis ← Liquid Fragmentation → Architecture of the Scar
Liquid Fragmentation
Developed in Norway, 2014–2021 ·
Retrospectively articulated as Liquid Fragmentation in 2026
The landscape was still outside.
The form had already begun to turn inward.
Developed in Norway through close observation of water in motion and changing states of matter, the works gradually revealed how the practice generates form and knowledge through perception, material action, and reorganization.
Water → Relation → Body → Trace
I. Water, Freedom and Colour
The move from Mexico City to Trondheim reorganized perception. Seasonal darkness, extreme temperatures, and the changing states of water transformed the surrounding landscape into a sustained field of observation.
Water became a material model of freedom understood as transformation: the capacity to flow, freeze, dissolve, adapt, and assume new configurations. Temperature, pressure, wind, humidity, and time appeared as active conditions through which form emerges.
Blue opens the pictorial field through movement, depth, and changing states. Red concentrates the field, introducing friction, density, intensity, and urgency. Darker surfaces begin to retain what previously circulated through them.
Microscopic water creatures
2014 Plaster reliefs and mixed painting technique of oil, acrylic paint and engraving ink on canvas. 100 x 100 cm Trondheim-Norway
Inner nature
2017 Plaster reliefs and mixed painting technique of oil, acrylic paint and engraving ink on canvas. 134 x 185 cm Trondheim-Norway
Top-down view of water landscape
2015 Plaster reliefs and mixed painting technique of oil, acrylic paint and engraving ink on canvas · 134 × 185 cm · Trondheim, Norway
Fragments of the earth, space view.
2014 · Plaster reliefs and mixed painting technique of oil, acrylic paint and engraving ink on wood · 60 × 120 cm · Trondheim, Norway
II. Field Observation · Roros, Norway.
Water, ice, and mineral structures in transformation.
Surface, depth, and time.
III. The Elements of the Last Minute
HISTORICAL DEVELOPMENT · 2015–2016
Developed through sustained observation and studio experimentation, The Elements of the Last Minute brings together ninety-four individually produced elements within a structure inspired by the periodic table. Each ceramic tile records a singular encounter between gesture, matter, perception, and time.
The scientific model becomes an artistic framework for relating positions, differences, repetitions, intervals, and families. Fragments accumulate, collide, and reorganize within a modular field. Forms begin to function as words; their combinations produce a vocabulary, a provisional grammar, and changing networks of meaning.
The title refers to the condensed interval occupied by human history within the cosmic calendar. Each element preserves the intensity of a finite moment, while the mural expands those moments into a shared material field.
RETROSPECTIVE READING · 2026
Looking back in 2026, a recurring method becomes visible. The composition developed through a recursive process of making, observing, recognizing relations, and reorganizing what had appeared. Each cycle produced new information and transformed the following act of creation.
The mural functions as a material model of DARONI’s creative thinking. Artistic knowledge develops through sustained attention to the possibilities generated by gesture, perception, and matter. This process later became central to Percepción Encarnada, where artistic practice is understood as a form of inquiry through which body, material action, and attention generate knowledge together.
The Elements of the Last Minute
2015–2016 · Mural painting · 630 × 290 cm · 94 ceramic-tile elements · Oil, acrylic and vinyl paint; water inks; etching oil and lacquers; microparticles, gypsum, resins and binder · Trondheim, Norway
“I produce the elements, observe what has appeared, and allow the relations between forms and materials to become visible. From those relations, the composition emerges.”
Making
Observing
Recognizing relations
Reorganizing
New perception
The Elements of the last minute
2015-2016
Mural painting 630 x 290 cm
Mural of 94 pieces, oil and acrylic
paint and engraving ink on ceramic tiles as support.
Location: Trondheim-Norway
The Elements of the last minute
2015-2016
Mural painting 630 x 290 cm
Mural of 94 pieces, oil and acrylic
paint and engraving ink on ceramic tiles as support.
Location: Trondheim-Norway
The Elements of the last minute
2015-2016
Mural painting 630 x 290 cm
Mural of 94 pieces, oil and acrylic
paint and engraving ink on ceramic tiles as support.
Location: Trondheim-Norway
Process. The Elements of the last minute
2015-2016
Mural painting 630 x 290 cm
Mural of 94 pieces, oil and acrylic
paint and engraving ink on ceramic tiles as support.
Location: Trondheim-Norway
The works produced the conditions through which the method could later be recognized.
RETROSPECTIVE PAUSE · 2026
IV. Exhibition Memory
Marienborg Gallery, Trondheim, Norway
Archival documentation from an exhibition later incorporated into the retrospective framework of Liquid Fragmentation. The exhibition brought paintings, modular elements, sculpture, projection, and viewers into a shared spatial field, making visible the relations between surface, fragment, scale, and body.
Exhibition concept and curatorial framework by Daniel Romero Nieto. Opening presentation by Elena Pérez.
V. Embodied Forms
CURATORIAL CHAPTER
In The Elements of the Last Minute, fragments became vocabulary. In Embodied Forms, that vocabulary acquires body.
The relational grammar developed through painting and modular composition begins to acquire thickness, volume, and spatial presence. The surface rises and enters into relation with gravity, scale, and the viewer.
Matter produces conditions; the artist recognizes relations; form emerges through that negotiation. Each sculpture develops through a recursive exchange between action, material resistance, observation, and response.
Corporeality emerges as accumulation, cavity, weight, tension, and presence. As the form develops, it returns information, transforms perception, and participates in the direction of the creative process.
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Liberation from suffering
Serie/Anthropomorphic Elements
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2015
Clay sculpture High 20 cm
Fine baked clay sculpture with glazing finish
Location: Trondheim-Norway
Penitence
Serie/Anthropomorphic Elements
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2015
Clay sculpture High 26 cm
Fine baked clay sculpture with glazing finish
Location: Trondheim-Norway
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Distress
Serie/Anthropomorphic Elements
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2015
Clay sculpture High 10 cm
Fine baked clay sculpture with glazing finish
Location: Trondheim-Norway
Anthropomorphic couple
Serie/Anthropomorphic Elements
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2015
Clay sculpture High 15 cm
Fine baked clay sculpture with glazing finish
Location: Trondheim-Norway
Resignation
Serie/Anthropomorphic Elements
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2015
Clay sculpture High 11 cm
Fine baked clay sculpture with glazing finish
Location: Trondheim-Norway
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The forgiveness
Serie/Anthropomorphic Elements
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2015
Clay sculpture High 18 cm
Fine baked clay sculpture with glazing finish
Location: Trondheim-Norway
VI. Consciousness, Machine & Critique
A brief threshold in which body, measurement, and material begin to intersect.
Anthropoid - Human without nature
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2015
Clay sculpture High 10 cm
Fine baked clay sculpture with glazing finish
Location: Trondheim-Norway
VII: Toward the Scar
CONTAINMENT, TRACE, AND DURATION
Here, colour becomes contained and the surface begins to retain pressure, duration, and trace. Movement remains within the material as density, fissure, and accumulated memory. This surface opens a threshold toward Architecture of the Scar.
What once flowed begins to remain.
Human Without Nature
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2015
Clay sculpture High 10 cm
Fine baked clay sculpture with glazing finish
Location: Trondheim-Norway