A fundamental axis of Claes Oldenburg’s artistic practice is the transformation of matter by turning common objects of mass consumerism into soft sculptures. Negating the normal functions and meanings of these objects, the artist built a critique of his time through irony and humour, making him one of the greatest exponents of Pop art. Many of his works were carried out in collaboration with his wife, Coosje van Bruggen. In addition, Oldenburg experimented with large public sculptures that generally feature replicas of everyday objects on a monumental scale, such as Els mistos (Matches, 1992), located at a crossroads in the Barcelona neighbourhood of Horta-Guinardó.