The feminine sign inscribed in stone as prior memory. It does not represent a body: it affirms a presence.
The stone was not conceived as representation but as a surface of emergence. Across its mineral skin, the line does not describe a body nor narrate a scene: it inaugurates a contact. The incision functions as an inaugural gesture, a minimal mark that asserts presence before any recognizable form.
Within the mineral surface resonates the primordial place of woman as a figure who acts, marks and transforms her environment. The trace persists beyond the time that produced it, recalling that before the image there was gesture and, before gesture, a will to exist and to leave a mark.
The spiral sign operates as a nucleus from which the figure is both suggested and dissolved, maintaining ambiguity between body, symbol and territory. In this oscillation, the stone approaches the logic of the petroglyph — not as archaeological quotation, but as evocation of an origin moment in which matter begins to be inhabited by human intention.
The passage through fire introduces an additional temporality. The stone undergoes heat, transformation and risk without losing the legibility of the gesture that constitutes it. Thus, the work proposes a silent paradox: while matter alters, the mark remains.
First Gesture situates itself within that threshold where form is not yet image and memory is not yet narrative. A prior, almost inaugural place
in which woman appears not as represented figure but as potential for inscription, action and metamorphosis.
