Monoliths are sculptures developed as part of the project Jusqu’au bout du monde, conceived in close relationship with the performance yet produced upstream, within the studio context. They are performative sculptures in the sense that their forms arise directly from choreographic gestures—impacts, torsions, falls, grips—precisely written and tested with a dancer, though they are not the residue of a public action. Prior to the performance, a preparatory phase was carried out against a neutral background, on a white cyclorama, through video recordings and successive trials that made it possible to anticipate technical constraints, fine-tune the choreography down to the centimeter, and isolate particularly compelling gestures. Three monoliths were thus preserved as autonomous works: one marked by the punch, one by the torsion, and one by the feet.

Each sculpture originates from a single matricial module in red clay—a dense, Mediterranean earthenware—developed according to precise scale relationships: the foot module as the base unit, the torsion expanded into a triple volume, and the punch extending across an even larger mass. Although conceived independently from the live performance (during which sculptures shaped in fresh clay before an audience were allowed to crack and were subsequently destroyed), these works retain the memory of the body as an active force. Exhibited in Palermo in 2022, they enter into a subtle dialogue with the surrounding historic architecture: the color of the clay resonates with the tones of marble, while the drying fissures echo the fractures of the ancient structure. The Monoliths thus assert themselves as sculptures that are both stable and traversed by movement, where matter preserves the imprint of a controlled gesture, suspended between performance, sculpture, and time.