Between Matter and Error, A Lucid and Corporeal Essay

In Fantasy, the object abandons convention to become action. The pieces do not seek to finish, but to reveal themselves in their incompleteness, a state of flow that is fed by error, the work of hands, and the experience of the body. In the space of Espinosa Estudios, five artists converge to question us: what does it mean to create today, when perfection is exhausted and the digital homogenizes? The answer is tactile, it is imperfect, it is inevitably human.

In a rigorous and radical exploration, Badii and Rabán rescue the functional furniture, that residue that inhabits the interstices of construction. It is not design to last, it is design to serve: tables, benches, supports that, in their precariousness, uphold a logic of ingenuity and necessity. Here, the dump truck becomes an archive, and each exposed piece is a fragment of a story that was never told. More than objects, they are gestures of material resistance, a recognition of that which is rarely dignified but has always been there.

The work of Arbutti does not play with shapes: it unfolds them as a system of thought that disrupts the logic of the utilitarian. His pieces of wood and acrylic, as precise as they are untamable, do not obey a single function. Sculptures, toys, impossible machines: everything is part of a board where the rules are malleable and the play is a choreography of the formal and the conceptual. Here, color is not whim, it is vibration. Wood is not support, it is a mechanism to move worlds.

In the work of Federico, each material is heard, moves, folds. There is no single practice: there is a continuum of explorations. His work is a living body that transcends disciplines, a space where objects are not only created but summoned to exist on multiple planes. The forms arise as fragments of an unbroken dialogue between matter and memory.

Each of Peruzzotti's lamps is a sensual entity that dances between the functional and the sculptural. In their forms, design ceases to be an object to become an experience. Light, here, does not reflect: it breathes. The interaction is inevitably physical; the pieces demand time, proximity, attention. The space is transformed, not by function, but by the luminous dialogue that each object proposes.

Fantasy is a collective inquiry in which error is not corrected, it is integrated. It is research, prototype, observation. The pieces that emerge are not results; they are moments in a process that never closes. Here, craftsmanship becomes a manifesto against standardization, digitalization, mass reproduction. In a world obsessed with the algorithm, these works celebrate pauses, the improvised, the corporeal.

In Fantasy, the materials are not inert; they are alive, and their life is inscribed in the memory of those who create them. Each work is a map: of the wood that reveals its veins, of the colors that seem to scream from the acrylic, of the volumes that find their place in the light. It is an exhibition that does not seek answers; it proposes fissures. There, in the cracks of the object and in the tension between matter and idea, is where true fantasy occurs.