The workshop on
Defensa Street

He moves out of the small apartment on Belgrano avenue and into an old house on Defensa Street, opposite Parque Lezama, in the old neighbourhood of San Telmo; he uses an area of the house as a workshop.

He quits his job to devote himself fully to his art.

He starts working in plaster. He reclaims for himself the use of models and figurative art, and with them the traditional craft of the sculptor. It is his way to stand to one side of the vertiginous search for novelty and give himself time and space to start another artistic cycle. He remarks: “This is my truth now: clay, plaster. There’s a lot of shit made in Carrara marble, in bronze. I believe everything is fake, my work is fake. But what’s fake exists, it is what it is.”

He makes a completely white sculpture which consists of four parallelepipeds with hands – the artist’s hands – emerging from them, as if they were holding and weighing up something that doesn’t yet exist, the emptiness that those very hands will endeavour to fill up with artistic creations.