I would define the work as an extensive taking notes, on the whole. I use to live taking notes, definitely nothing is so serious for me as thinking of a final work, a finished work. At the same time, everything is so serious for me that I feel instability in the plastic responsibilities demanded by the fact itself. There is no solution, but conclusion.

Thinking, indicating, thinking, testing, thinking, investigating, thinking, making, realizing. Creation is, at the end, a revision of the past.

In this series the study of the light over the white is more feasible. Meaning with this: white (in its entire tonal balance), verifies and powers the volume, whether flat, concave or convex. On the other hand, it makes the result something timeless. The white, as center, core of light and pigment colors. The white erases or freezes one of the discussions shown by this series. I am interested in it, it helps us working in the spatial, perhaps, undeniable thing in existence. So far and from a theoretical standpoint, it separates us from the tone or nuance. The quality of a color depends on its position in the chromatic circle and white inhabits its outermost point or maximum interior. White color is neither dead nor alive, it is. These sculptures are neither alive nor dead, they are.

White color allows me more with the roughness of the tool, its execution and therefore its light exposure, than with any of the primary, secondary or tertiary colors. Leaving room for cleaner or softer surfaces.

We expect to analyze the shape by its structure, not by its anecdotal characteristics. We must see it as a mass, as a volume, in itself and in its circumstances. This requires analyzing and abstracting, thinking, grasping its essence. Not stopping at its pure external appearance.

Sense of analysis of sections that remain steady, to especially capture the shape.

Analysis of the movement and of its enclosed tensions. Contours, agitation, tension caused by the volumes, etc…

Using again the word “timeless” that I argued previously, I link the tone of the works with the anatomical approach, also timeless. We do not know when, where from or even who, but we do know what it is, or at least we guess it. We don’t need it either, or at least the author doesn’t need it. In this regard, I would like to mention one of the most important concepts of this series of works. The work faces the late twentieth century dilemmas of globalization, the actual one of the 21_st century and especially its future. By definition, it needs the self-critical look of the spectator, but above all, and more with the work in person, it attends to the criticism of the world that surrounds it, at the same step that surrounds the sculptures. The work asks us to look without a verbal or a shallow answer. I understand I live in a superficial world, and maybe the plasticity of the artistic work might see negatively. The work does not impose precise times of execution, of observation, as perhaps we get used to daily audiovisual media. I’d say that the work, first of all, reminds and alerts us. 

Louis.