The sick body is not a metaphor for our world in crisis; it is its most intimate symptom, the terrain where the extractivist logics of the Capitalocene inscribe themselves in flesh. Exposum I positions illness as a critical prism, probing what Susan Sontag called the night-side of life, where the logics of alienation and control of late modernity are experienced.

The figures appear as spectres—liminal presences oscillating between visible and invisible, embodied and dissolved. Arranged sometimes on metal tables, sometimes on the floor, they are confined to the inside. These enclosed interiors convey an alienated flesh, subjected to the accelerated tempo of our modern societies. Neon lights manifest as entities that delineate bodies, fragmenting them, thus materializing the cyborg condition in which medical devices reconfigure porous and interdependent flesh.

The canvases establish a duality where the organic and the technical coexist.

The interplay between materials—translucent, stratified, impastoed—and painted devices blurs the notion of the real, maintaining the works in a zone of indeterminacy. Here, the condition of illness becomes the symptom of a vaster pathology: that of a spore-like intoxication of the living by the very structures that administer it.