Follis of Maurice, Nicodemia 

This is a Follis coin of Maurice, hammered from metal in Nicodemia. It’s fascinating how the process of artmaking, or in this case, coin-making, leaves its mark—quite literally! Looking at the surface, it’s clear that time and material have had a conversation. The once-bright metal is now a textured landscape of verdigris green and reddish-brown. This isn't just about the image pressed into the metal; it's about the physicality of the thing itself. The patina isn't just a color, it's a record of where it's been, what it's witnessed. I’m drawn to how the details—the lettering, the portrait—emerge from this corroded surface. It makes me think of Cy Twombly’s sculptures, where you get this sense of history, of layers accumulating over time, obscuring and revealing at once. It’s a reminder that art, in any form, is always in dialogue with its past and its present. It’s never just one thing; it’s a constant process of becoming.