The game of the arches could also be called the game of strokes. Each piece is a line that can make drawings in the air, i.e. three-dimensional drawings. Drawing lines in the air and marveling at the forms that are created, pushing the boundaries of balance, interpreting the unexpected abstract and figurative forms that emerge… this is what the game consists of.
As soon as the first piece is put in place the tension starts to grow, along with the search for meaning. The construction begins to impose its own laws, laws that we cannot easily understand. A sort of silent dialogue arises between the form being built and the person playing, and this is what determines the path ahead. Looking, sensing, imagining, doing, undoing, interpreting, seeking, finding…
It is a game that invariably imposes on us a poetic form of behavior, one that cannot be expressed in words. Artistic activity is the natural principle of every game, and randomness, surprise, skill, risk, beauty, emotion, the allure of strangeness, encounters with the unknown – all of these are natural elements of the most primordial and exciting activity that we can partake in: play.
The rules of this game are not written; the game itself dictates them in an open yet subtle way. When we put a new piece in place it is the set that tells us if it makes sense or not. We must be both attentive and unprejudiced to learn to see, to try to interpret what the set is telling us. The laws of harmony cannot always be deciphered. It may depend on us, on the sincerity with which we look, know and see. Children may well be able to teach us to play this game better than any master.
Ladders are the symbol of paradise lost, of that unattainable paradise. They seduce us because with them we can climb to the heights, much as we did in our previous life as primates. Climbing, forever upwards: it seems an aspiration in itself. Fruit, hanging from branches that are out of reach.
CÍRCULO is a game that involves a very simple mechanical force, pressure, but the results, always surprising, seem haphazard.
The circular ring is placed on a table, and different pieces will be put inside without any order or position. Then, the combination is pressed turning the screw. The pieces are moved by the pressure until they fit and the screw stops. When lifting the ring, it may happen that some parts fall down; those which remain inside will form figures that will surprise us.
The tightrope walker balances over the precipice, risking life and limb as he walks over the thinnest of threads. They are not actors; rather, they relive what is essentially their life away from the wire. We are all tightrope walkers, though some more than others. Whether we are aware of it or not, we are all balanced on the edge. That is what they are trying to tell us.