Paradox, 2016, wood, copper, terracotta, silver, polyester.
The Tortoise challenged Achilles to a race, claiming that he would win as long as Achilles gave him a small head start. Achilles laughed at this. “You will surely lose, my friend". “On the contrary,” said the Tortoise, “I will win, and I can prove it to you by a simple argument.”. “Suppose,” began the Tortoise, “that you give me a 10-meter head start. Would you say that you could cover that 10 meters between us very quickly?”
“Very quickly,” Achilles affirmed.
“And in that time, how far should I have gone, do you think?”
“Perhaps a meter—no more,” said Achilles after a moment’s thought.
“Very well,” replied the Tortoise, “so now there is a meter between us. And you would catch up that distance very quickly?”
“Very quickly indeed!”
“And yet, in that time I shall have gone a little way farther, so that now you must catch that distance up, yes?”
“Ye-es,” said Achilles slowly.
“And so you see, in each moment you must be catching up the distance between us, and yet I—at the same time—will be adding a new distance, however small, for you to catch up again.”
“Indeed, it must be so,” said Achilles wearily.
“And so you can never catch up,” the Tortoise concluded sympathetically.
“You are right, as always,” said Achilles sadly—and conceded the race.
(Zeno of Elea, Paradox of Achilles and the Tortoise).
Zeno of Elea (Philosopher 489 AD-431 AC) was aware that general public won’t understand why a thing is what it is, hence he chooses to use a clever example to support his ideas, a paradox, a statement that contradicts itself and yet might be true and valid to promote critical thinking.
In the same way, Paradox collection invites the observer to understand how a thing has been made. The imperfections and roughness of the prototype-crafted piece, paradoxically becomes faultless and immaculate in the serial plastic production of the same object.
The grooves of the hammer, the thumb’s spread of terracotta, the knife carves and the veins of the mould make the objects perfect for what they are, these imperfections should not be hidden.
The plastic objects we buy at the store are simply reflections, shadows of a prototype made by hand, we become then prisoners of Plato’s cave, unable to recognize that what we see are not real forms but surrogates.