But there is no bell to ring, because this structure is not a bell tower. Yet both of these images, and what they can connote, hover around as poetic associations within the same space. Similarly, Scaffolds Today, Monuments Tomorrow distressingly reads both like a seaside pier and a platform used to hang people.

Neelova’s works stand as odd, transparent altars to their elements’ origins, made up of elements that have survived despite being charred. They open up the distorted manner in which the past is read by the present, and what she refers to as “the historical memory that is embedded in materials.”

Text by Lupe Nùñez-Fernández

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