In the pastoral myth which most of us know, Adam gave names to animals brought in turn by his (and their) creator. This did not amount to much as Adam gave all the animals the same name simply calling them "animal". An Adam like this would be of absolutely no use whatsoever to us at our exhibition. The brave shepherds carefully rubbed Eve out of the myth confining her to spinning and having babies having blamed her for the alleged conflict between the creator and Adam. So much for the pastoral myth.
But let us now move to the present to observe the reality which is even more interesting. Our Adam does not give all animals the same name because he can actually see them rather than just look at them. He can see pebbles which he picks up from the path he walks along and then wraps some of them up in their object, represented in this case by plasticised paper. Our Eve is not a convenient element of conspiracy theories but a tireless researcher of spiritual order in the world of minerals, plants, animals, people as well as colours and shapes. In our case, her intervention based on shape and colour complements the object of pebbles imagined by Adam. This is possible because where most of us just look, she can actually see.
“A pebble is a perfect creature,” a poet has said and he is right here. This is because the order of the pebble is real order where there is no room for discrepancies, disagreements or contradiction. Adam walks the path and sees a pebble which he then pick up and thus transfers from the real order to the imaginary order. In the imaginary order, the pebble (an emissary of the real order), becomes a possible complement of a structure based on absence and the desire caused by this absence. The subject or Adam ($ = A) places the potential object of desire or the pebble (a = k) on a piece of paper which he had made pliable by soaking it in water (introduction of the element of water). The pebble which fits tightly the corresponding shape in the empty space of the plasticised sheet of paper is thus the figure of the imaginary phallus (Φ), waiting for reinterpretation in the symbolic order.
However, it is only Eve who is able to take this whole operation to the level of symbolic order, that is, to the level of signifiant. She accomplishes this through the square which in symbolic order serves as signifiant indicating the element of the Earth (the domain of the pebble), as well as by colour which is signifiant in relation to the rest of the elements. The colour scheme of the pebble is usually rudimentary and only reveals more robust hues when wet. After drying, when the soaked piece of paper loses its plasticity, the pebble also returns to the space described by the key word "grey". The object of desire which is the pebble (a = k), fills the absence only in the imagination. When you pick it up, sooner or later it reveals its inadequacy. This also happens when in the imaginary order it is wrapped up by Adam in a specially made representation of the object.
Starting from the fact that the actions of the subject or Adam ($ = A) intended to complement the structure based on absence with an object of desire or the pebble (a = k) are essentially based on the introduction of an additional element (water, and in order symbolic: Water), Eve intervenes by indicating the necessity of other elements (also of Fire, Wood and Metal apart from Water) in the symbolic order where the role of signifiant is played by colour. In this sense, Eve does not participate in the dialectics of absence explored by Adam. If Adam’s action is aimed at a defective Whole (the pebble + plasticised sheet of paper) which however is possible to recover in the imaginary order, Eve’s action, taking place in the symbolic order, indicates Multiplicity which requires no harmonisation nor complementation.
Only the action of Adam and Eve taken together can lead you, if you happen to see and not just look, to experience a state where the Great Other does not exist. Is that going to happen? Time will tell. Oh, yes, time will tell!