As with her performance and action art, as well as other aspects of her work, Esther Ferrer has deliberately opted for the provisional over the permanent. True to this way of working, she has used fragile materials for her sculptures and, consequently, many of her models and structures from the 1960s and 1970s no longer exist. ‘I have never been very interested in producing large-scale projects in real space. If the model I produce functions, then the work is done. If I have the chance of doing it in real space, that’s wonderful, but if I don’t it doesn’t matter. For me, art is a process.’ As Ferrer says, the process is as important as the final work of art. The series Proyectos espaciales brings together a set of models of projects for possible interventions ‘in’ and ‘with’ space. On this occasion, Ferrer has produced one of her hypothetical installations: Serie ‘Proyectos espaciales’ #7.
It could be my bedroom (or something similar to it). Even the same technical characteristics: all the walls and volumes constructed in this module of raw canvas for painters to measure me and measure ourselves.