The project is inspired by a poem by Jo Shapcott in which she describes an invention by a Parisian scientist, a Dr. Variot, for galvanizing the body of the dead. It is astonishing and intriguing to try to invert this idea, and to propose an even more radical step, of galvanizing an unborn baby, a fetus, as a perfect monument, described in the poem and the patent of the scientist. This project is interconnected with the omnipresent flows in the landscape of necropolitics and bio-politics. In the context of love, and its abstraction, the work provokes the traditional theme of parental unification, a goal achieved by means of reproduction, with a newborn being as the culmination of its love. Love in this case could be the very obsession to produce and materialize or metalize this almost un-possible idea into a concrete work. It is very strange to think about this work in the context of Pop-art culture and its means of production. It concerns the twofold absorption of knowledge, within the limits of the circumstances in which it is put to work. That any articulation of this kind will be emptied and closed… so this field of repetition opens, for us to realize that there is no end in this game… This is known to those who have thrown the dice. A new type of religion should really be entrepreneurial and active. In the case of the realized artifact, performed carefully, and in a hypothetical space of the future, the main Eckhartian question arises: does love really make us into the thing we love?
In order for the metal layer to be successfully applied, it is necessary to resolve the dilemma of preparing the fetus itself because it is rather wet. This can be done through a specific chemical process that would either gelatinize or desiccate the water. There is another possibility, a kind of pre-mummification. The most efficient approach would be to use an electrochemical process: because it includes an electric circuit which, by streaming in galvanized bath, achieves the subsidence of silver completely hermetically.