Theologia Negativa presents a two-part meditation on presence, absence, and the limits of representation.
On the left, an antique devotional frame preserves not a crucifix but its lingering imprint—a darkened void where the object once rested. This absence is not a lack but a charged negative form, a trace that holds the memory of a vanished presence. The emptiness becomes the work’s first gesture: meaning articulated through withdrawal.
The object on the right offers a material counterpart to this void. Suspended within a transparent resin block is a 3D-printed replica of the missing crucifix. During the curing process, the cross drifted off-center, resisting ideal alignment and appearing caught in a subtle state of displacement. Because the printed form slightly protrudes from the resin’s surface, a faint shadow forms behind it when mounted on the wall—an unstable echo of the “original” whose absence is preserved in the frame.
Rather than affirming either the original or its copy, Theologia Negativa situates the viewer in the gap between them. This space of non-coincidence—between what was, what remains, and what can only be imperfectly remade—functions as a quiet inquiry into the nature of revelation. Meaning emerges not from the solidity of the cross but from its refusal to appear fully in either object, inviting contemplation of what remains unknowable, unrepresentable, and withdrawn.