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Metal meshes look like skin. The skin is the most evident limit of the body, the biological barrier that protects and connects every being with its environment. Therefore the body delimitation becomes a diagram of any self and therefore implies individuality. Nevertheless, the superposition of two animals occupying the same space and time breaks the idea of separate beings and brings back the idea of system unity. No one exists without the other. Inside and outside becomes relative. As the skin doesn´t exclude, limits become confuse. The shadow helps to view the hole system.

It was in 1990 when I first used this kind of material to create a sculpture. I used a piece of expanded metal found by chance in a recently builded house.

I liked the lightness and transparency of the figure opposed to what was expected for a big volume. Forms were like sketchs in the air. This gave me a new outlook for my figurative sculpture.

I found that the meshes emphasize the difference between representation and the represented object. It underlines the essence over the form, the idea over the matter, the meaning over the thing.

Because of these materials, enlightening and surfaces behind the sculpture are essential to apprettiate the forms. Counterlight is interesting too. Shadow projection adds a supplementary lecture: the abstraction of volume in a plane.