Dilalica, Barcelona
Laura Sebastianes, Masha Silchenko
The works of Laura Sebastianes (Spain, 1990) and Masha Silchenko (Ukraine, 1993) inhabit intermediate territories—spaces of transition where objects, images, and architectures are held in the fragile balance of the threshold.
Laura Sebastianes’ sculptures and models begin with elements drawn from the language of architecture—supports, fountains, systems of support, and similar structures—in order to explore how forms hold themselves and relate to one another. Her pieces operate as miniature architectures or fragments of possible infrastructures that engage with the spaces that host them—their walls, windows, and fissures. Within them, a play of scales unfolds: what appears to be a model could be a monument, and what might function as a support becomes the work itself.
Masha Silchenko’s paintings and ceramics suggest a more atmospheric and symbolic landscape. Her images evoke presences, inner landscapes, and fragments of a universe in which windows, openings, and organic forms function as passages between planes. In her work, painting becomes a space of appearance, where figures seem to emerge or dissolve at a threshold between the visible and the invisible.
The dialogue proposed by Dilalica between these two practices invites us to consider the threshold as a shared concern. If in Laura Sebastianes’ works the threshold appears as a structure—through points of support, frames, or systems of passage—in Masha Silchenko’s practice it manifests as an opening toward another possible space. Together, these works configure a landscape in which architectures become sensitive, images acquire presence, and the gaze must learn to move between different planes.