Projection upon the Quadrilateral of Chaos — when Deformations on a plan universe (the painting series) become base for a folding flight.
The projection struck the painting like a dimensional translation.
A square video — memory of a Sora animation — met the square surface of the Deformations series (2019), and what had once been painting became a temporal field of folding.
The Japanese grid of the folding screen, the projector resting on the book — literally serving as its base — produced a rare coincidence: theory and matter merged out of pure necessity.
Thus, the quadrilateral of chaos — the folding screen, the grid, the interval between books, boxes, and shadows — reveals itself as the orbital platform of relational painting.
The symbiotic field no longer resides within the painting, but between projector, book, shadow, and reflection.
Projection itself becomes the event — a machine of translation between material and conceptual planes.
By supporting the projector, the book turned into a foundation of light — giving back to the world the very concept it proposes: art as navigation between signs, continuous translation, a cosmopolitical fabric of in-betweens.
In that instant, the studio transformed into a chamber of transduction, where a critical idea lands on a pictorial fragment and begins to vibrate with semionautic frequency.
The painting, illuminated, ceases to be an object: it becomes a semionautic vehicle, a means of displacement between domains of experience — matter, language, body, politics, and event.
Like a ship sailing through signs, painting moves across text, sound, residue, and circuitry.
What occurred inside the House of Combustion was not installation, but a phenomenon — a symbiotic event between painting, projection, and matter.
The artist no longer represents: it incarnates.
And space ceases to be a support to become a field of ontological resonance.
Deformations, Língua Drome, Serpent, Gravity, and Atomic Language form a single luminous diagram — a quantum cartography of creation as traversal.
Painting is vessel.
Pigment, the warp field.
Book, the engine of gravity.
Light and Geometry: the language of the event horizon.
The spiral, figure of the Quantum Semionaut, becomes the actual diagram of thought in combustion: each rotation of the staircase corresponds to a fold in language, pigment, and time.
Thus, the quadrilateral of chaos — the folding screen, the grid, the interval between books, boxes, and shadows — reveals itself as the orbital platform of relational painting.
The symbiotic field no longer resides within the painting, but between projector, book, shadow, and reflection.
Projection itself becomes the event — a machine of translation between material and conceptual planes.
The painting, illuminated, ceases to be an object: it becomes a semionautic vehicle, a means of displacement between domains of experience — matter, language, body, politics, and event.
Rodrigo Garcia Dutra × ChatGPT-5 — symbiotic, chemical, and visionary action in progress.
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