It’s in iCloud reflects on the silent trust we place in the digital, in science, and in numbers as guarantors of an intangible reality. The paintings function as diagrams of an invisible mechanics, as if it were possible to trace the ontology of the structures that sustain digital objects.
White does not appear here as emptiness, but as a space of silence and faith—a site where traces of what is stored and what is lost are preserved. The emerging forms evoke both gears and organs, anticipating a hybrid aesthetic that oscillates between the mechanical and the biological, between archive and relic.
The series engages in dialogue with what Byung-Chul Han describes as the iPhone transformed into a contemporary rosary: a device in which every tactile gesture becomes ritual. It also resonates with Yuk Hui, who argues that digital objects possess their own existence—an ontological structure that transcends mere representation.
Within this intersection, the works are presented as relics of a digital cult: visual fragments of a quotidian faith in the cloud, where the intangible becomes object and the immaterial acquires form.
Once this process is completed, each painting reaches a state of equilibrium in which the mass of the paint—its materiality—finds a form compatible with the drawn structure. Owing to this balance, the work can be oriented in any direction. The resulting texture unifies form and ground, merging them into a single field in which all elements hold equal weight. This same sense of unity is shared among the paintings within the series.
