The cover of the Annunciation and Assumption catalogue

He has an exhibition at the Galería Tema in Buenos Aires, and a remarkable essay by Ricardo Martín-Crosa appears in the catalogue. In it Martín-Crossa announces the closure of the cycle of works that go from guts to bone, sinew and flesh creatures which, fragmented, crave wholeness. He notes:

This sculpture burns our raw flesh because it is an inescapable form of conscience. It tears us away from our beastly slumber and flays our heart in order to save it. It invites us to a sacred fraternity “with all the mutilations and faults of the world”.

Representation tends to show, or at least provide better ways to perceive, complete bodies, even when they are in a state of dissolution as in Journey – later renamed The ship – in which the corruption of a corpse extends to its last means of transportation: a coffin. In another piece he raises profound existential questions, especially about the inability to recognise oneself in front of a monstrous shape.