Dioramas. This is the main form that Drebbel’s work takes. Little platforms on which the artist lays out a series of found objects (botanical traces, shells, metal containers, glass ampoules...) and, always, a little plastic animal. This may be a penguin, a rhinoceros, a turtle, a llama or many other species besides, in a rich bestiary which, starting from the universe of meanings which each one refers to, go on to link up to Theo Drebbel’s own biography, staging a number of short episodes. Or rather: everything starts out from her own personal history, which remains largely concealed and unrecognisable as such, only to transform in a sort of syncopated, oneiric, fantastical narrative, one which breaks down every limit between the possible and the impossible, exploiting the memory as a trigger for setting off a forgetting mechanism.

Associated on the basis of unpredictable yet rigorously geometrical schemas, Theo Drebbel’s relics make up an alphabet which is at the same time mysterious and intuitive, one to be approached in religious silence before it unleashes an endless carnival of links and digressions.