Theologia Negativa is a tripartite installation that stages absence not as lack, but as a structured condition of meaning. The work draws on the tradition of apophatic theology, in which the divine can only be approached through negation, while simultaneously engaging contemporary theories of simulacra, trace, and causal inference.
The installation consists of three elements arranged horizontally. On the left, a 3D-printed white replica of a devotional frame appears entirely empty. It is a copy without an origin, a form awaiting meaning that never arrives. In the center, the original frame from which a crucifix has been removed still bears the visible imprint of what once occupied it. The object testifies to a prior presence that can no longer be accessed. On the right, a translucent resin block contains a 3D-printed copy of the removed crucifix, suspended and slightly offset. The cross survives only as an object severed from its function and context. Meaning does not return through replication, preservation, or trace. Instead, it disperses across copies, residues, and absences.
By separating the sign, its imprint, and its reproduction, Theologia Negativa exposes how contemporary belief systems persist not through faith, but through repetition and inference.