Infinito

A single, slender point of support seems to sustain the sculpture's entire centrifugal impulse. Two robust arcs of quadrangular section meet, intertwine, and bypass each other in mid-air, tracing a continuous trajectory that suggests the perpetual loop of infinity without needing to close it. Geometry operates here not as a rigid or static imposition, but as an organic line of force that defies the metal's natural heaviness to rise with striking lightness.

The visual engine of this tension lies in the sensory duplicity of its skin. In one section, the bare metal displays a meticulous longitudinal brushing that softens light into a sober, satin glow; in the other, the red enamel, applied with a glassy, polished sheen, delivers a compelling chromatic energy. This dialogue between the technical coolness of the silver surface and the incandescent warmth of the lacquer not only delimits the different segments of the path, but also alters how the volume is read: flat faces fragmentarily reflect the environment, while sharp edges carve out space with absolute precision.

The voids framed by both curves function as gravitational cores. Moving around the object, the two arcs engage in a shifting choreography of overlaps and apertures, where the red fragment seems to surge upward propelled by the lower curve before concluding in a clean, frontal cut. That abrupt halt of form, coupled with the assembly's diagonal tilt, holds a contained kinetic energy: the sensation that this metallic torsion was frozen at the precise instant of its greatest oscillation.