Colombian artist Delcy Morelos, inspired by earth and the nurturing embrace of a mother’s womb, has crafted a stunning installation at the Barbican Centre in London. Her creation, Origo, spans 24 meters and consists of more than 30 tonnes of soil and clay sculpted into an organic oval. Visitors can enter its series of hollow passages, where the aroma of spices enhances the experience and light filters through small openings.
The sensory journey of Origo
Within the installation, darkness is a key element. As Morelos explains, “Origo is a dark, humid, and warm place,” evoking the early days of human development in the womb. The alternating light and darkness guide visitors to engage senses beyond sight, sparking a unique sensory experience.
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To enhance this sensory exploration, spices like cinnamon and clove are embedded within the walls. These elements invite visitors to rely on smell and touch, transforming the experience into one where “our skin feels and thinks,” as Morelos describes.
The life cycles embedded in clay and soil
The materials used in Origo are more than just structural; they symbolize cycles of life. The soil and clay are rich with organic material, poised to support future plant life, continuing the cycle of decomposition and regrowth that Morelos finds essential.
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The installation acts as a “seed” with potential to nourish and grow, containing “the bodies of animals, the remains of plants, and insects,” Morelos elaborates.
A harmonious blend with its brutalist surroundings
Commissioned specifically for the Barbican’s Sculpture Court, the project marks the return of installations to this iconic space after a ten-year hiatus. Morelos intentionally echoes the venue’s brutalist aesthetic, uniting Origo with the surrounding architecture through its rounded form and central void.
Origo follows the Barbican’s other distinguished installations, like Purple Hibiscus by Ghanaian artist Ibrahim Mahama. The space has continually explored themes that challenge and delight, evident in its 2025 exhibition Dirty Looks.
The installation, photographed by Thomas Adank, is on display at the Barbican Centre until July 31, 2026. For up-to-date events in architecture and design, see the Dezeen Events Guide.
Source: dezeen.com