Using a Scanning Electron Microscope, Sara captures the cellular structure of each sample, magnifies it, and reveals its complexity through imagery mounted on wood and plexiglass. The large-scale renditions include deliberate glitches such as formal distortions, light leaks or reticle cross-lines—interferences that further abstract the works and hint at the imperfection of memory and thus of human nature.
Titled 'Forms', the sculptural works exist in a variation of more or less organic shapes that imitate topographies Sara randomly encounters during her scanning journey. The process is illustrated by a short film that places the viewer’s eyes in front of the microscope as its lens explores the relief of all three samples morphed into one. Ensues the uneasy realization that coming closer is here synonymous with grasping less.
Conversely, one of the elements magnified in the 'Forms' series, the Aleppo soap, morphs from micro to macro, as soap brick structures are erected on the gallery’s floor. In part broken, cut and fragmented, the towers’ intentional defaults imitate glitches witnessed on Sara’s photographs. Their carefully orchestrated arrangement, on the other hand, performs a cellular analogy to the building blocks of life and further intimates the vastness of the microscopic universe extant within us.