Untitled, a sculpture dating from the late 1990s, belongs to the moment when artist José Pedro Croft, after progressively abandoning the use of classic sculptural materials such as marble, focused his artistic discourse on reflecting on and questioning the intrinsic qualities of sculpture itself, exploring the relationships between volume, space, scale and light. The simplicity of the combination of a table and four double mirrors is formal evidence of the appropriation of universal everyday objects which, through their transposition into the exhibition space, lose their sense of functionality. The mirrors, in conjunction with the recognisable, pre-existing wooden domestic element, are not only impossible to use, but, in juxtaposition, trigger a game of new forms occupying the absent space. The return of the image is thus altered while the appearance of the table legs seems to be illusorily, deformed, and new elements emerge. The result of a simple gesture that provokes an ambiguous perception between real presence and constructed presence, this game of formal and spatial defragmentation and deconstruction, through the use of mirrors, has accompanied Croft's work, the qualities of which he exploits to this day.
Without discursive intent or symbolic and metaphorical meanings, he establishes a relationship between interior and exterior in the expansion of space that redefines reality through its manipulation, with the viewer as the intervener.                                                   

Carolina Quintela