
In The Invention of Paradise, recent works by Ygor Landarin and Gabriela Melzer are presented in dialogue, bringing together two research projects distinct in their processes and formal repertoires yet converging in their investigation of landscape as a transformative space. Between sedimentation and flow, matter and atmosphere, the artists construct visual universes where the experience of place is constantly reshaped by memory, imagination, and time.
Rather than depicting specific landscapes, both artists work through processes of translation. Elements drawn from the world—geological formations, marine organisms, architecture, stains, reliefs, and material traces—are transformed into autonomous visual systems where figuration and abstraction coexist in a state of ongoing friction and tension. Paradise thus arises not as a destination or idealised image but as an ever-shifting construction.




















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