Carles Pujol, with his actions on the beach at Vilassar, has directed these experiences towards a problematic in which it seems that we can detect the bringing into play of the following concepts: An ephemeral concept of the work of art, which thus refuses to collude in the pollution of the world by adding to the objects that now fill it new objects to make it more crowded. A concept, implicit in the previous one, of the ephemeral work: that of the work that cannot be sold or speculated in. The ruling out of the definition of the artist as a manufacturer of saleable product. An assimilation of the disinterested role of the poet. A concept, also implicit in the first concept, of an art that by not seeking to be lasting gravitates towards the immobilistic concepts of eternity which reflected the value system of a culture of the treasure chest, of a society that had not yet accepted that the immediate return is superior to the accumulation of capital. That life is more than all these mummifications. A “minimal” concept of the position that rejects complication, rejects ornament, rejects all those characters of signs that are not, strictly speaking, “pertinent features.” A concept of the occupation of the space totally opposed to the traditional possessive concept of architecture or structure, which displaced everything and made a scrap of space the space itself, exclusively. The experience of using aleatory elements, open work, integrated with nature, the great rhythm of black tapes set seventy centimetres apart, elaborated in the most rigid tension, but abandoned to the slow action of the waves that gradually relax the tension of the elements in an increasing triumph of entropy. Alexandre Cirici, 1976