In I like never, I also like ever, the viewer stands between two bodies in a state of suspension. The video installation traces an extremely slow, repetitive motion, segmented into a multitude of frames that dilate perception. Beginning from a classical dance figure—the plié jump—Sarah Brahim deliberately dissolves points of departure and arrival, as if to quiet gravity and suspend time. The instant of lift elongates toward the infinite, releasing the bodies into a sustained state of weightlessness, where recurrence becomes ritual and motion becomes a form of listening.

Within GROW, the work reads as a meditation on transformation and resilience: poised between descent and ascent, the body becomes a site of potential and renewal. By erasing thresholds, Brahim opens a space in which growth is not linear but cyclical—an expansion that arises through repetition, slowness, and the subtle stretching of time. Here, the cadence of breath and the return of the gesture nurture a quiet metamorphosis, allowing form to unfold at the tempo of attention itself.

This artwork was originally commissioned by Vittoria Matarrese and Villa Heleneum (Bally Foundation) for the artist’s solo exhibition Sometimes We Are Eternal in 2024.