THE SPACE BETWEEN THINGS

This is an artistic research mIgrating from dissertation to exhibition, the artist’s works intersect with the theories of Bruno Latour and Graham Harman, offering a philosophical framework for understanding a world where objects become relevant actors within a complex network of relationships.
Bruno Latour, in We Have Never Been Modern, reveals the illusion of separation between nature and culture, object and subject. He proposes a "Nonmodern Constitution" that acknowledges the interdependence and inevitable blending of these categories. In the artist’s works, the contrast between the natural and the artificial, presence and utility, becomes evident. Glass fused with stones, sand, or exhibition brochures emerges as a hybrid materiality where nature (sand) and culture (exhibition materials) coexist. These pieces evoke Latour’s concept of “quasi-objects,” entities that resist pure categorization. Andreea Delia Voren’s works are not silent witnesses but actors in a network the artist has created from installations encompassing her journeys and artistic trajectory, using natural and artificial elements she has collected. Glass, paper, and pigments are as much a part of this “parliament of things” as the shadows and light they project into space.

For Harman, objects are not reduced to their utility or our impressions of them—they exist through an essential “withdrawal,” being more than what we can know or perceive. In this sense, Andreea Delia Voren’s works reflect a poetic approach to objecthood: stones, paper, or glass are not merely materials but become "autonomous actants," protagonists that transcend their initial function. They exist in a state of “withdrawal” from utilitarian perception, inviting us to contemplate them purely as raw presences. The artist uses the transparency and fragility of glass to illustrate the “tension” between an object and its properties. Glass is simultaneously material and immaterial, present yet transparent.

The exhibition thus becomes an intermediary space where the works speak for themselves, beyond utilitarian or symbolic contexts. Andreea Delia Voren captures the “in-between” of visible and invisible, material and immaterial, transforming the surfaces of glass into a portal toward what Latour and Harman call the deep reality of objects. The artist’s works propose a return to an aesthetic of pure observation, free from forced interpretations: an exhibition about objects encased in glass, about the spaces between them, about the silence of materiality and the story things tell when humans stop categorizing them. Through this exhibition, the artist challenges the limits of perception and invites us to rethink our place within the vast network of things. We witness a dialogue between nature and culture and a moment of redefinition of the relationship between humans, objects, and space. The Space Between Things is a space proposing an aesthetic of pure presence—between things. Through serendipitous textures and material accidents—pigment stains, traces of sand, fragments of paper—Andreea Delia Voren creates a world where things are left to simply “be.”