In Cimenti, the assemblage becomes a site of quiet trial—each form the result of repeated gestures, adjustments, and refusals. Rooted in a post-human sensibility, these constructions no longer serve the purposes for which their parts were made. Precision remains, but purpose has dissolved. They stand as inert signals, blueprints of a logic now inaccessible—neither relic nor prophecy, but forms suspended in the gap between.

Borrowing its name from Galileo’s notion of empirical trials, Cimenti frames making as an experiment without fixed outcome, where construction is a negotiation between mind and matter. Each work hovers in an elsewhere: too precise to be ruins, too mute to be tools. They feel within reach of understanding, yet remain beyond it. In that distance, they gain presence—stubborn, strange, and wholly their own.