Cris Cabus, starting from a first poetic friction stemming from an idea of interiority and loneliness surrounding the female universe, cannot at all, not be involved with the phenomenological apparitions and contaminations that this experience caused in his body and imagination. What remains of these twisting paths between Caparaó's landscape, the visual-artist-subject and the imaginative-creative process, is the enduring mark that the ceramist, now sculptor, leaves softly resting on the Finca Tarumã landscape.

Prototype made in ceramic with 25 cm, transposed on a scale of three meters of diameter, to be made on site, in reinforced concrete with metal structure.

Cris Cabus's work, done on site, spent seven months of work.

Once translated into the sphere, the sculpture can be observed through small holes, thus establishing two distinct times of reading of the work, one before the experience of seeing and another after. This distinction of understandings, associated with the experience of an active observer, leads us to the phenomenological field as a conceptual parameter of the work.

Artwork inserted in the landscape willing to the appreciation of the observer.