There is graphite under my table, my legs are stained, so are my fingers. Long live the ancestors, a conflict between creation and what is left of the heritage. How do we separate from ourselves when we try to rewrite our history? Which actors shape our rough lines of being and where do we begin as ourselves? The work, as it is presented, functions as a semiotic battlefield. The pencil, interpreted as a rigid, functional column, becomes an anthropomorphic entity in this interpretation. Something that claims its own agency and capacity for deception. Metamorphosis is a fundamental echo in the contemporary representation of animation.

In an episode of Spongebob Squarepants, the protagonist uses a magic pencil to draw an alternate version of himself. Its “otherness” that toys with a device, serves to explore the creation of an identity that escapes the creator’s control. In this work, pencils are not mere drawing tools but bodies in conflict; through the erasers holding each other, it depicts these humanized beings passively existing in a sphere of cosmos, destabilizing the notion of drawing as passive representation. Giada Gollin’s work at Fasanspace results in an occupation of space where the tender and the violent collide. Her small sculptures and drawings do not merely seek to destabilize the viewer’s gaze but propose a new regime of visibility where the body, whether made of graphite, cardboard or flesh, refuses to be an inert object, becoming instead a vessel for resistance and subversive play.