Exhibited inside the Black Tower of Castelgrande in Bellinzona, Metamorphosis is a sculptural reflection on time, impermanence, and the quiet transformation of landscape.

Rooted in the territory from which it was born — shaped with earth and driftwood gathered nearby — the work is a personal response to the landscape of Bellinzona, a place that, at first glance, appears still, unmoving, eternal.

But beneath that stillness lies a quiet, continuous transformation. A slow metamorphosis, stretched across the deep time of the earth, escaping the pace of human perception. And yet it’s there — in the constant presence of water, carving and softening the land, marking the passage of time through silence.

The installation begins as a compact, geometric mass — firm, grounded, seemingly immutable. But over time, it begins to fracture, yielding not violently but gently, slowly. Its core is revealed: brittle, raw, exposed. What once seemed solid collapses under its own weight, not in destruction, but in transformation. A body that appears still, yet is always shifting.

A pulse fills the space — quiet, persistent, almost imperceptible. A rhythm, a whispering heartbeat that mirrors the natural cycles of collapse and renewal.

The work is not only form, but process: born from the earth, returning to it. A reminder that even our most assertive marks are ultimately absorbed by time.

Like the Black Tower itself — once built to divide and defend, now open, worn, inhabited — the sculpture stands between form and erosion, strength and impermanence. What remains is not a monument, but a trace. Not an ending, but a metamorphosis.