Traditionally, the principal function of sculpture has been the reproduction or representation of an object. In my work, I am interested in three-dimensionality not as a representational activity, but rather as a way to create tangible metaphor.

In 1999, I started working with the concept of ‘mutanza’ (‘mutation’ and ‘moving’).  I mean to emphasize its direct relation with change, specifically gradual transformation, metaphorically related to the evolutionary process of the crysalid.

Such are the works la Niña 1 and la Niña 2 (presented at the 59 Salon Arturo Michelena, Vlaencia, Venezuela)), the main point of which is the recognition of a will to overcome nature itself.

This process began with the work Mutanza I (a synthesis of the words mudanza and mutación) presented at the 57 Salon Arturo Michelena, where wood and metal vertical elements contain and express human presence in quasi-archetypal, atavistic positions, suggesting transformation.

In Mutanza 2, exhibited in “Espacios Borrados: un dialogo” (Sala Mendoza, 2001), changes evolve and are made tangible through a symbiosis with object reality that borders on bodies-forms to the point of becoming almost one, fusing them in one type of cartography and topography.

In Mutanza 3, these changes consolidate, unveiling the inner structure, expressed through the geometric rupture. In this sense, the membrane acts jointly with the structure as one mutually stabilizing system.

Here is the concrete ‘perfect’ symbiosis, the break of a hierarchy already existed in Mutanza 2  by the presence of an order of primary and secondary elements, positive and negative.

It is precisely this relation of correspondence and reciprocity, solidity and transparency, that makes mutanza possible.


 Lihie Talmor, 2002