Outside, the world's objects are gathered, and materials are cherished. The privileged objects contain an aspiration within their forms. The materials, in contrast, exist in their rawest, most genuine state. Both are destined to meet; a hybrid, unstable, harsh image will emerge from this collision.

Searching for that which might shine amidst the rubble, Adrián Gaitán discerns the finite possibilities of the useless. He treats what is broken or disassembled with the utmost care, recognizing that this is the substratum that will trigger the image. For him, the destruction and misfortune wrought upon a piece of furniture—a desk, a small table, or a butcher’s block—imbues them with value, even virtue. It is this that ensures them a place in his particular collection.

Observe, collect, accumulate, classify, and observe again. An idea takes form, and operations begin on furniture, remnants of buildings, and industrial props. The metamorphosis is always violent; thus, it becomes necessary to cut, twist, and break so that the earth, branches, fat, and tar can penetrate these bodies made of wood and plastic. It is trauma that initiates the definitive mutation. Adrián seeks to capture, in a single frame, the precise moment just before the final tension or the complete dissolution of the object.

During sleep, a feeling of strangeness occurs when familiar elements are distorted—somewhere between the familiar and the foreign—, a sensation that allows the unconscious to explore emotions that the waking mind suppresses. Sometimes, the strange appears in the form of temporal distortions, loved ones in unfamiliar bodies, or inert objects that come to life. As though it were a scene from a David Lynch film—one of Adrián’s favorite directors—the exhibition is read on a level that is not entirely conscious, in a state closer to the porosity of night. In the darkness, light becomes the bridge to reality, revealing the artworks' voluptuous, rough, and almost improper qualities.

In that revelation, the natural and the fabricated, the organic and the artificial, the simulated and the true are confronted. It is the appearance against the material.