From the top of Torre Sevilla, the city stops being a familiar landscape and becomes a lesson in perspective. While the hands model the clay, the eyes are barely able to understand a volume, the tension of a muscle or the expression of a gesture. Everything, on the job, seems harmonious and correct. However, it is enough to move away a few meters or raise your gaze to discover unexpected proportions, invisible imbalances and nuances that remained hidden from close proximity. Distance does not cool the emotion; he orders it. I understood it during the modeling of Diana the Huntress, whose silhouette, standing on the New York pier, points to the horizon while remembering that every journey begins and ends in a river.... See More