Untitled (2001) is one of the most relevant examples of Amilcar de Castro’s late trajectory. Still in the 1950s, the sculptor developed a technique ruled by seamless operations, based only on cuts and folds of single metal sheets. Here, the use of weathering steel as raw material, rusting over time, just as the use of irregular geometric figures (rather than circles, squares, and rectangles, as in the previous decades) are part of his interest in the organic aspect.
Blown-up pieces also allow the gaze to pass through such cuts, thus tightening the relationship between inside and outside space.
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