Compressions represent a pivotal stage in the systematic deconstruction of the cube—a core geometric motif within Martim Brion’s practice. Moving beyond earlier iterations that flattened the cube toward the floor, this series completely strips the form of its physical volume. By reducing three-dimensional mass to a flattened plane, the work shifts from architectural space to a pictorial plane, positioning itself at the direct intersection of sculpture and painting.
Executed as a series of six planned iterations, the sculptures rely on a disciplined exercise in incremental repetition. Small, deliberate variations in each compression reveal how slight structural shifts evolve the object into new visual territory. Formed in aluminum, Compressions examines how method, practice, and serial repetition generate subtle, evolutionary changes in form and spatial perception
