Barro Casa is established as a fundamental practice of reconnection that unites the body, matter (red clay) and territory in a process of creation. Through the systematic repetition of manual gestures with his fingers, the artist moulds large-format structures that are presented as hybrid containers. These primordial forms simultaneously evoke nests, vessels or shelters, placing the work in a liminal zone between minimal architecture and biology.

The repetition of the gesture transcends mere technique to become an act of faith in life and its inexhaustible power of transformation. The slow, rhythmic manual labour acts as a temporal anchor, opposing the speed and indifference of industrialised production.

The resulting structures, which refer to the biological forms of the anthill or the hornero’s nest, condense and translate the energy of the collective work of other species into human language. This inserts the work into an ecological and political perspective that values the constructive knowledge of the non-human.

Each piece becomes a primary refuge, a space where the tension between containment and exhalation beats: between what the form holds (the life that germinates) and what ultimately returns to dust (the matter). This duality underscores the fragility and cyclical nature inherent in existence.

In essence, Barro Casa is a capsule for imagining other possible ecosystems. Clay, a humble and ancient material, is not only the medium, but also the message: clay becomes a house, a womb and a constellation of the common. The work redefines the notion of refuge not as immutable protection, but as a sensitive container of life, memory and the potential for collective and conscious living.

Victor Lopez Zumelzu