In terms of the time of its execution and its technique, this piece could be tied in with Espacio sugerente, also in the BBVA collection, with both works being excellent examples of this artist’s output.

While his early work was within the boundaries of expressionist figuration, influenced by his exile in France during Franco’s regime, from the 1950s onwards he evolved towards a more theoretically grounded practice. In 1957 he joined the Parpalló group, which introduced Informalismo in the region of Valencia. At the end of the fifties he began to focus more on sculpture, creating compositions on highly material supports and surfaces, using burnt and splintered wood and sheets of iron. The artist’s pretension, as he admits, was to make “living polyvalent works of art with an inbuilt possibility to change”.

The use of materials like wood, iron, copper and brass filings, as well as incorporating volume and matter, were to become constants in his practice. Although more complex, this piece repeats the language of Espacio sugerente (1962), with a dramatic incorporation of a variety of materials which Soria uses to create a play of empty spaces and others occupied by the metal.