Rudolf Kohn: NOTHING IS A MIRROR "I saw the entire universe, and the entire universe became a single point, a single point that was nothing." Jorge Luis Borges Rudolf Kohn’s work reveals a profound quest for the intangible, exploring what remains hidden yet shapes the essence of our existence. Inspired by the perception that reality is more expansive than the material, Kohn constructs a bridge in each series between the visible and those hidden forces surrounding us. In series such as The Presence of Absence and The Penumbra, the artist addresses the spaces where the material meets the spiritual, guiding the viewer towards an introspective experience that invites a rediscovery of the sacred power in the everyday. In The Presence of Absence, Kohn presents solitude and emptiness as portals to a spiritual dimension beyond ordinary perception. Here, physical absence is not a lack but a form of invisible presence, a state of communion with the essential nature underlying all things. The space seems suspended, with an atmosphere laden with neutral and dark tones that vibrate in their stillness, suggesting that emptiness contains something alive and fertile. Many indigenous peoples of Latin America refer in their worldview to emptiness as a space full of meaning, where they engage with forces that, although unseen, act powerfully in life. Kohn, through a minimalist and balanced aesthetic, invites us to see beyond the evident, transforming the subtle into an active presence. In The Penumbra, he explores the liminal moment where day meets night, a threshold in which light and darkness intertwine. In this brief encounter, represented in a play of light and shadow, the spiritual becomes ephemeral. For Kohn, this transitional moment, charged with contrasts and golden tones that evoke mystery and transformation, is an essential pause that modern society often ignores. The work suggests that rediscovering the penumbra means reconnecting with the natural flow of things, in a moment where energies balance and time seems to stand still. This brief moment resonates with the thinking of many indigenous cultures, who respect these cycles as sacred times, where life breathes at the same rhythm as the cosmos. This connection between spiritual past and present is also reflected in the use of gold, which for Kohn represents not only the materiality of gold but the symbolic wealth that has been distorted in the contemporary world. This color recovers in his work a sense of union with the divine. By incorporating gold, Kohn reminds us that the deep meaning of abundance lies in balance and connection with the transcendent, and not in the ambitions of power that the modern world assigns to it. Thus, gold in his work becomes a critique of the superficiality that values only the material. Likewise, green and blue evoke a deep connection with nature, paying tribute to indigenous cultures that saw these colors as manifestations of strength and protection. Kohn seems to resort to these tones to honor those guardians of the earth, who, since ancient times, have seen in nature a source of power and healing. These colors reinforce the idea that true strength resides in that harmonious relationship with the environment, in living according to a natural balance.