Expanding the logic of Theory of Transition, I fragmented a full-scale steel structure into fifteen modular sculptures based on my shoulder width. Each form, cast in moistened concrete, was designed to change over time—releasing salt and shifting color as a record of erosion. Influenced by Cronenberg’s Dead Ringers, the sculptures mirror a body that is precise yet never fully familiar. After completing the work, I understood that what I had retained from earlier ruins was the weather, not the form—marking a shift toward atmosphere and date as coordinates for memory.

Fifth of September of Two Thousand Sixteen (2019)

Sculpture, steel, rod, white concrete, marmoline, water.

Galería Hilario Galguera, Mexico City