“I pollute my environment with traceˮ - Uri Aran

Rosalind Krauss, in Notes on the Index (1977), distinguishes the index from other kinds of signs. Unlike the symbol, which is arbitrary, or the icon, which operates through resemblance, the index emerges through contact. It is the footprint pressed into sand, the shadow falling across a wall, the bruise or stain. Indexes are “marks or traces of a particular cause, and that cause is the thing to which they refer.ˮ They are not depictions of something absent, but physical consequences of presence.

This exhibition extends Kraussʼs insight to works on paper. Paper is approached not as a neutral support but as an indexical surface, closer to a sandbank or photographic plate. Every inscription—graphite, ink, stain, fold, or pressure—testifies to contact, a gesture, an event. In this light, these traces are not only expressive or communicative, but also archival: they register the bodyʼs conditions of being in the world.

Amorce – Paper, Index, Trace unfolds an exploration of paper as surface of registration, the index as consequence of bodily presence, and the trace as its lingering residue. Paper, then, is less a passive support than a porous skin. Fibers receive dents and folds, becoming both surface and memory, where body, tool, and environment impress themselves in ways both deliberate and involuntary.

To look at these works is to encounter more than form: they are thresholds where presence is recorded and transformed, where the ephemeral endures as memory, impression, and touch. The weight of a hand, the rhythm of breath, the pause of attention—each leaves its mark. Works on paper mirror this condition, gathering traces that reveal not only intention but also what exceeds control.

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