The wall of the abysm

Nuria Fuster, Valencia, Spain, 1978. Nuria Fuster has been working with found objects she generally comes across in the public space. They are, for the most part, refuse and leftovers from a consumer society obsessed with the idea of progress, and for whom an object becomes obsolete before it ceases to be operative. Indeed, many of the discarded products she incorporates into her sculptural compositions are still fully functional and this informs the way she uses them. Accordingly, Fuster-s process of recuperation and restaging questions the very notion of purpose, something that goes beyond the recontextualization implied by the readymade. From her early years as a student, when she had no space to work, the artist tended to view the gallery as both a site of production and exhibition. In that sense, the fully-fledged installation only exists in the time frame of the exhibition, not unlike a theatre set, where props are placed for actors to recreate a plot. In that case, the protagonists are the selected objects themselves. Her sculptures either suggest or enact movement and/or formal transformation, also hinting at the notion of formal instability, perhaps echoing the impermanence of a world in constant evolution, but also stressing their ephemerality - the possibility of their own obsolescence.