José Pedro Croft's sculptural practice is the result of an investigation around constructive and perceptive processes. It results in objects in which the visual, plastic, and poetic dimensions merge. His work takes as its privileged reference the idea of absence, explored through the citation of iconography related to death, initially in figurative sculptures, and later in works that develop in the sphere of construction and architecture: The modules box-house-tomb, which refer to the tradition of funerary structures and are conceived from a relation of scale with the human body (which, absent, is evoked by involving the spectator in the apprehension of the work).

Modular and abstract, this work develops in a structure of binary combinations that reflect the problematisation of the relationships between the physicality (presence, life) and the evanescence (absence, death) of the body/matter: thus, the oppositions between emptiness and fullness, colour and non-colour, lightness and weight stand out. Reduced to an essential grammar marked by the exploration of archetypal forms and economy of means, the set presents great stability, an aspect that is reinforced by its horizontal disposition and by the direct connection to the floor. However, the sequence of the elements in a standardised grid that is not totally closed announces a possibility of repetition and infinite continuation of the form. The flow thus created reinforces the telluric dimension of the work, triggering in the spectator several possibilities to think about the passage, the precariousness, the transience, concepts that refer to the fragilities of life and the world, becoming the very metaphor of the object.

JB