Placed on the floor or on light tables, Trevisan’s sculptures might function as architectural models of future building projects, but Trevisan’s method strays from that employed in building construction, recalling the Constructivist emphasis on both material and spatial presence. He states, “Unlike the construction of a building where the final result is methodically predetermined, the approach taken here is the opposite, where the final form and space is merely the accumulation of progress over time.” Rather than conceiving a building’s exterior as a smooth encasement of a smoother interior, Trevisan’s interiors are dependent on their shells. Like Tatlin’s spiraling tower, Trevisan’s layering process, at once conceived by the artist, takes on a life of its own as it carves out unique elliptical tunnels that invite the viewer to peer inside and to confront the limitations of these tangible and tactile spaces.
Are the boundaries of these spaces as limited as they initially seem to appear? Trevisan writes, “Viewing the outside of the structure everything is revealed–the fabrication, the support and the depth of the field.” In Trevisan’s cityscape, buildings become transient, transportable objects that welcome various spatial configurations and prompt refreshing conceptions of architectural rootedness and reverence. Like fantastical portable holes slapped onto walls, Trevisan’s sculptures act as thresholds between universes, portals through which the ephemeral and vulnerable nature of space might be explored.