In El pont (The Bridge, 1986), Susana Solano moves away from her earlier affinity with Minimalism, entering into a language full of suggestion and intuition. The elements that make up the work, gratings and lead plates moulded as if they were clay, manage to escape their architectonic forms to acquire a voluptuous, almost calcareous appearance, where temporality resonates and is masked through the work and materials. A certain autobiographical transparency determines the configuration of the tactile and rugged surfaces, and of the light, sensual volumes. But in El pont there is also a spatial conception that arises from the direct experience of the subject and therefore goes beyond the purely conceptual. In this way Solano transgresses the expectations of perception, subjectively animating matter. By using curvilinear rhythms and destabilised structures, she achieves an open syntax where mystery arises from the sculpture’s physical presence.