Here, the artist's reference field moves from sculpture to painting, as the Plates evoke paintings rather than forms unfolding in space. (...)
"Making", praxis, is no longer a mean to reach a form or conceptualize a value like it previously was. It becomes an end. The material and its process are put forth, disturbing the logical relationship between signs and blurring the links between the signifier and the signified. These large plates that César built piece after piece like mosaics rise like blind mirrors that stop both light and reason. Immutably silent, they stand like iron Babels.
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