Artist: Daniel Brusatin

The exhibition “The Flower is Always in The Almond” at NISO Gallery showcases Daniel Brusatin’s latest series of works, exploring the hidden potential and inherent growth in nature and humanity. Using natural materials, Brusatin creates pieces that reflect the evolution of organic forms, akin to seeds containing the promise of future flowers.

The title is a poetic statement about the latent potential in all beings. Just as the flower sleeps within the seed, these works hold energy waiting to be released, promising growth and transformation. The exhibition establishes a dialogue not only with matter but also with time and spirit, meditating on what is and what could be, the visible and the hidden, the tangible and the ethereal.

The show celebrates the cycles of nature, exploring fragility and strength, and the perpetual search for meaning through art. Brusatin invites the viewer to immerse themselves in an experience where the primordial and the eternal intertwine. The works are arranged in a space that guides an introspective journey, reflecting the intrinsic connection between nature and human creation. Each element is a microcosm of meaning, a whisper of the very essence of existence.

The blue circular mosaic, titled “The Flower is Always in The Almond”, with its rich chromatic palette and sinuous lines, celebrates fragmentation and cohesion. The small stone fragments, precisely assembled, represent a whole that transcends the sum of its parts. Inspired by the sea and the sky, this piece invites contemplation of the dialogue between the immutable and the ephemeral. The deep blue choice reinforces a sense of immensity and contemplation, evoking the vastness of natural elements and the meditative nature of mosaic art.

The sculptures evoking “Totems” are pillars of history and mythology, objects that, by their form and presence, seem to hark back to archaic times. These totems, with their rough surfaces and varying heights, rise from the ground as witnesses of an ancestral era, speaking of ceremonies and rituals of connection with the earth. On the other hand, the pieces resembling bird “Nests” offer an intimate and protective contrast, suggesting a space of shelter and birth. These concave forms, carefully crafted, lead us to reflect on security and vulnerability, on how nature creates spaces for life in its most fragile state.

The three wooden sculptures, “Derinkuyu, Ellora, and Lalibela”, with an almost volcanic texture, embody erosion and the passage of time. Their perforated surfaces suggest a contained force, shaped by wind, water, and fire. These pieces represent the natural process of wear, where each hole tells the story of its creation, evolution, and transformation. It is a testament to how matter can be simultaneously solid and vulnerable, heavy and light, opaque and translucent.

The compositions on canvas, titled “Embers and Whispers”, worked with perforations and burns, amplify the duality of creation and destruction. Each burn on the canvas becomes a trace of fire, a reminder of impermanence. The perforations, arranged with an almost mathematical sense, suggest coding and hidden messages. These works echo the idea that, in art, as in nature, every mark, scar, and scratch contributes to the object’s narrative.

At the heart of the exhibition stands “Intimate Immensity”, a large-scale work that dominates the space with its monumental presence. Constructed with raw materials like burlap and earthy tones, this piece embodies the tension between the vastness of the cosmos and the intimacy of human experience. The delicate balance of textures and forms invites viewers to lose themselves in its vast landscape while simultaneously grounding them in the tactile reality of the materials. This duality captures the essence of Brusatin’s exploration of the infinite within the finite.

This collection not only reflects Brusatin’s technical skill but also his ability to infuse his works with profound emotional and spiritual resonance. By intertwining tradition and modernity, the exhibition invites reflection on the viewer’s place in the continuous cycle of life and the universe.

The powerfully present idea of silences as moments of mutation and connection between works evokes an intermediate space where time dissolves, allowing the pieces to dialogue with each other in a language that transcends the verbal. These silences are like pauses in a visual symphony, intervals that not only mark the rhythm of the journey but also imbue each work with latent potential. In these interstices, the works not only exist but transform and reveal themselves to each other, creating a tapestry of meanings in constant evolution. It is in these silences that the cyclical, organic, and eternal essence of art manifests, showing how each piece is rooted in a temporal continuum that transcends its individual existence.

Text written by Christian Domínguez Dietzel