The latency of the clay heads is the feeling of a more intense, collective, radical, brutal and barbaric voice. Tomás Espina and Pablo García move from the stillness of ethnographic museums to the visual concentration of the ossuary. They offer a messianic solution to the formal trap of art, but leave the spectator in an awkward situation without any possibilities of empathy. The suspicion of complicity forces us to keep our distance from that succession of deformed heads made of primitive mud. We are nothing but the possibility of having been or being one of those heads.
The pieces are exhibited on wooden shelves arranged in rows, one next to the other, equal but different, with the handprints that deformed them and made them lose the initial perfect shape of their mass.
