Equilibrio

Three arcs with rectangular cross-sections meet in the air to sustain an illusion of weightlessness. The structure, assembled through an interplay of tangencies and minimal contact points, dispenses with any visible anchoring that might betray structural effort, allowing the metal to appear to float above its base with an almost choreographic serenity.

The visual conflict unfolds through a strict dialogue between two finishes: high-gloss ultramarine blue enamel and mirror-polished steel. While the chromed segment tends to dematerialize by reflecting the immediate environment and duplicating the adjacent curves within its concavity, the blue asserts an uncompromising, dense, and impermeable volumetric presence. The sharp edges of each rectangular profile cut clean lines against the empty space, defining crisp contours that guide the eye along continuous circular journeys that never fully close.

This interruption of the perfect circle introduces a crucial tension. None of the rings complete their loop; they are segments suspended in an instant prior to collapse or roll. The squared-off, flat ends act as visual brakes that halt kinetic momentum at the exact point where gravity ought to prevail. A millimeter-precise calculation governs how the counterweights operate, allowing the piece to rise diagonally and gain height without sacrificing stability.

Equilibrium does not describe passive stillness here, but rather a contained force. Between the reflection that absorbs light and the pigment that refracts it, the sculpture proposes a meditation on physical order: industrial matter, bent into an impeccable curve, finds its rest not in the solidity of the ground, but in the precise contact where two trajectories choose to support one another.