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Three handcrafted light-wood cages hold a dark, swollen matter kept under pressure. Rather than birds or biological specimens, each structure encloses black latex volumes inflated to the very limit imposed by the bars. The initial contrast is tactile and visual: the rough wood, drilled with vernacular precision, supports the smooth, elastic, and somber skin of the balloons. Within this confinement lies an immediate tension between the extreme fragility of the membrane and the geometric severity that constrains it.

The sequence proposes a modular progression of volume. In the first cage, a single elliptical body occupies nearly the entire interior, its curves peeking through the slats; in the second, the mass is split into two stacked spheres competing for vertical space; in the third, a multitude of small globular forms crowd together like dark fruit or confined cells. This rhythmic division transforms scale, turning an everyday element into a rigorous study on density, mass, and physical containment.

The title, vacíos (voids), introduces an inescapable conceptual paradox. What inflates these containers is air, an invisible and transparent substance commonly associated with nothingness, yet here it acquires an opaque and suffocating presence beneath the black rubber. The darkness of the latex lends sculptural weight to the incorporeal, transforming trapped breath into a mass that pushes from the inside out.

To this spatial tension is added the inevitable dimension of time. Air escapes imperceptibly through the pores of the flexible material, condemning each sphere to lose its turgor, wrinkle, and collapse within its own enclosure. The wood will remain intact while the confined matter ages and gives way, laying bare a quiet meditation on containment, organic vulnerability, and the transience of that which strains to expand.