Liminal was conceived during my residency at Neumünster Abbey, Luxembourg, materialising through the reuse of original paving stones reclaimed from the Abbey’s renovation. These surfaces, worn by footfall and time, embody both tangible mass and layered histories.
Elevated upon industrial steel feet and spaced deliberately, the stones define voids that draw attention to absence as much as presence. The resulting gaps - bare, open, expectant - speak to an undeclared potential: will growth emerge where decay lingers? Liminal exists at the juncture between erosion and regeneration, positioned between architectural legacy and natural return.
Within the ArtEvol framework, Liminal acts as a threshold piece, marking the moment when active emergence gives way to latent possibility. It reflects the exhibition’s core themes: undefined positions, emergent languages, and the tension between institutional histories and undefinable futures.
The sculpture does not resolve. Rather, it activates an open‑ended question in alignment with ArtEvol’s ethos: in the interstice between absence and presence, how does undiscovered potential assert itself? In its austere formal language, Liminal invites viewers to inhabit the space between silence and renewal - to consider thresholds too often neglected.
Victor Guerin (b. 1993) is a Franco-British artist working across sculpture, installation, and painting. He holds an MA in Sculpture from the Royal College of Art (2024) and an MEng from Arts et Métiers ParisTech (2016). Guerin was a finalist for the Hyundai Award for Excellence in Sustainability and Creative Practice (2024) and received the Averil Picot Art Award (2023).
His work has been exhibited at the Royal Scottish Academy, Dalkeith Palace, the New Zealand Academy of Fine Arts amongst others, and is held in public collections in China and private collections in the UK, Canada, and France.
Guerin’s practice investigates how human intervention shapes natural systems. He explores the intersection of technology and ecology, seeking not opposition but coexistence.
With a background in engineering, he integrates industrial fabrication, computer-assisted processes, and traditional methods such as lost-wax casting. His material vocabulary centres on cycles of use and regeneration – combining salvaged detritus with organic elements to reflect transformation and resilience.
He is particularly interested in material agency, allowing substances such as oxidised metal, eroded stone, and found fragments to generate meaning beyond direct intervention.
