Otoño

An outer hoop of brushed metal acts as a threshold and containment for an internal centrifugal force. Across this silver ring, with its thick profile and satin finish, light slides softly and diffusely, tracing a serene arc that embraces three-dimensional space and precisely defines the boundaries of the gaze. Yet the apparent stillness of this contour breaks immediately at its core: there, a metal ribbon enameled in deep red coils and uncoils upon itself through taut curvatures and rigorously clean angular cuts.

The counterpoint between both elements is above all tactile and luminous. While the outer structure absorbs the surroundings through muted, homogeneous reflections, the scarlet surface displays a brilliant, almost liquid finish that concentrates sharp highlights along its helical path. There are no visible welds or accidental edges; the craftsmanship exhibits an impeccable technical refinement where the actual weight of the metal appears to dissolve into a remarkable aerial lightness. With its thirty centimeters of depth, the work avoids strict frontality and demands a walk around it, revealing alignments that shift with the viewer's perspective. The interruptions in the red band create active voids, breathing intervals that allow the viewer to look through the ensemble and perceive air as a decisive structural component.

Under the title Otoño (Autumn), geometry renounces any purely mathematical coldness to suggest the cadence of a living organic cycle. The curved ribbon evokes the elastic arching of a leaf curling as it loses sap, or the swirling motion of an eddy of wind carrying matter in the midst of seasonal transformation. Nevertheless, there is no descriptive mimesis or melancholy fragility here. The season is not translated into decay, but into a vigorous retained kinetic energy, fixing in polished metal and fiery lacquer that exact instant when nature slows down to condense and prepare its own return.