"An aesthetic of the possible first suggests a dynamic work. Unlike the static object, the work is temporal, and has a vitality that can dwell below that of an organism. In the project Perfect Skin XI (2020), Grégory Chatonsky shows cancerous cell mutations created by artificial intelligence. In Ivory Dampers (2019) by Isabelle Andriessen, iron sulphate is absorbed and transformed by ceramics. The material is no longer a fixed mass that the human hand changes at leisure, but an infinitely complex whole that the artist learns to know in order to negotiate its changes."