On one hand, Carlos Caballeros works seem to manifest an extreme metaphysical rigor, although the ineffable of his shapes breaks up the contours, which seem to sink into the pictorial background, so that, even their perimeter proves to be mobile, and in fact these spots of color appear to move, almost to change into each other, simultaneously weaving to proclaim the indecipherable form. Carlos Caballeros pictorial avant-scène, oscillating between almost conventional grid systems, seemingly expressionist symbols, modernist abstractions, ludic extravagances and geometric shapes, it definitely stages a meticulous and reflective, vast and autonomous work. Through this perpetual process of making and unmaking, his works escape the traditional frames, thus creating their own logic in which the inner movements follow each time independent rhythms. All the elements witch assemble each work can be seen, as a set of esoteric representations, hermetic images, emblematic objects and abstract diagrams, waiting to be decoded.
On the other hand, the sublime dissolution of matter, subsisting in Arantxa Etcheverrias works, breathes into every concave space, into every vacuum created by the material intensity. Her works seem to be true aesthetic manifestos, in which the structure decants, concurrently engendering mystical and occult references. Since 2013, she has developed an artistic practice related to the modernist architecture of her studio in Bucharest. Whether it is painting, objects, installations or video montages, her works are undoubtedly the result of an in-depth analysis of the geometry of space. Arantxa Etcheverria, comprehensively investigating the architecture of the spaces, acquires works with mastery elements of scenography, the inner space being structured as a systematic exhibition scheme. Her art is not at all ascetic, although it indisputably shows Suprematist or even Constructivist associations. In her compositions is established a third dimension, they appear slightly in relief, or with certain overlapping grids that have surrendered their relationship with the wall to pop-up on the floor.