Maryan Besaga

In Presence 1.09, the unknown form takes on a particularly sharp and directional character. Its fractured, asymmetrical silhouette, with two elongated projections, resembles a fragment of a structure whose origin and scale cannot be determined. It seems to emerge into space as a sign that does not belong to any system of forms familiar to us.

At the same time, the inner surface contrasts sharply with the geometric precision of the contour. Layers of green, turquoise, and blue create a dense chromatic field through which the arc-like rhythm already characteristic of the series unfolds. These recurring marks resemble imprints, waves, or traces of vibrations that appear and disappear within the depths of the coloured matter.

The form has a clearly defined boundary, while the process within it seems boundless. The fragment can be imagined as part of a much larger structure that has become accessible to our perception only for a moment. The surrounding white space intensifies its sense of autonomy — it has no horizon, no point of support, and no defined scale.

The recurring rhythms within the silhouette become a kind of trace of inner activity. Presence reveals itself not only through the emergence of an unfamiliar form, but also through the sense of a process unfolding within it.