Tachipirina ​breaks ​down ​the ​perceptual ​code ​around ​informal ​and/or ​experimental ​maquettes; not ​only ​are ​these ​scalar ​mock-ups ​useful ​as ​physical, ​transitory ​sketches ​that ​can ​provide clarity ​to ​a ​developing ​idea, ​but ​they ​also ​function ​as ​work ​alone, ​suspended ​in ​a ​“proclaimed phase ​of ​post-truth”.

As ​visual ​works, Tachipirina remains ​tethered ​to ​a ​functional ​application ​of ​institutional exhibitioning– ​it ​reads ​as ​a ​display ​of ​finished ​work, ​however ​unfinished ​the ​artist ​may ​intend the ​displayed ​objects ​to ​be. ​They ​are ​obviously ​open ​for ​further ​evolution, ​based ​on ​the migratory ​atmosphere ​in ​which ​the ​works ​are ​installed, ​as ​well ​as ​the ​void ​of ​context ​or definitive ​understand ​among ​the ​series ​as ​a ​whole. ​The ​publication’s ​cover ​is ​accessorized ​by ​a band ​designed ​to ​look ​like ​a ​cutting ​board; ​a ​functional ​allusion ​to ​the ​in-progress ​nature ​of Sala’s ​generative ​process. ​Dynamic ​photography ​of ​the ​rooms ​holding ​Sala’s ​objects ​assist ​in creating ​a ​spatial ​tension ​that ​speaks ​to ​the ​objects’ ​need ​to ​move ​and ​re-invent. ​On ​both ​the perceptual ​and ​semantic ​level, Tachipirina reads ​as ​a ​project ​both ​complete ​and incomplete–teetering ​on ​the ​edge ​of ​each ​definition ​in ​a ​predictive ​state ​of ​meaning.