Time interacts with forms. It trans(forms) them, reconstructs them, redesigns them... in this process the artist discovers, traps and becomes obsessed with ideas that lead them to materialize the deterioration, the precariousness and the sensitivity of objects and everything that surrounds them.

The deterioration of matter implies both strength and weakness. A universal binarism, as is the investigative process that leads Alejandro Medina to present the series "100 Ways of visualizing a forest", where the degradation of nature through the intervention of man is evidenced. Man himself seems to be included in the processes of deterioration and precariousness. The degradation of matter accumulates in Fredy Rangel's "Intención". We all rust, we all have parts of our body that have deteriorated and from there arise those figures of the past that creep into the present. Matter and its waste. Like the rubber waste that Sofía Véliz takes to design and redesign the antiform that she suggests to us with "Rasgos".

"Rasgos," or features, like those of the maxan leaves that record Yavheni de Leon's "Forma y Tiempo." The forms are organic, never repeated. Maps, articulations, rubbing, wounds... all of them are part of the "Manual for the hands". Constellations that Camila Fernández explores and builds in which the creations are traces that suggest other worlds, other moments, other times. Times of toner, of non-traditional materials, of the dematerialization of form and the pixelization of beings as shown in the creations of Luiso Ponce.

Matter can be explored from different sensibilities such as the sound compositions and spectrograms of Patricio Majano. Or from the processes of appropriation of spaces, from the human gesticulation that materializes through the drawing and painting of Gabriel Rodriguez. Because matter ceases to be and becomes again through conceptualization and artistic research.

— Juan Pablo Gonzalez