The work employs a strategy of radical reduction, stripping the human figure of heads, facial features, and clothing to neutralize all cultural and ethnic signifiers. This erasure of the individual serves to document the body not as a specific subject, but as a site of universal corporeality. By isolating the naked form, the installation interrogates migration as a recurring structural phenomenon rather than an isolated event tied to a specific geography. The figures become anonymous data points within a larger, cyclical history of movement, shifting the focus from personal narrative to the repetitive mechanics of displacement.
Here, and everywhere else continues Eddy’s search for a language that does not exist.
A language made of air, of silence, of suspended time.
This is not a sculpture.
It is a border you cross with your body.
A language made of air, of silence, of suspended time.
This is not a sculpture.
It is a border you cross with your body.
