Carlos Monge’s In-between (2021) tries to signify, through sculptural language, a tactile visuality between matter and emptiness, where each one is built on top of the other in complementary opposition. Within this visuality, the marble is poured into the space, developing mobility, finding in the hole all its clarity, its lights and its shadows, demonstrating the possibility of being.
Embodying a space where the viewer finds himself with the environment that surrounds him, ‘In-between’ is half refuge, half way. A corner where you can take refuge while imagining the relationship between the interior and the exterior in all its infinite nuances. An osmosis between the intimate space and the indeterminate natural space, their relationships and interdependence. A third space, a cosmos of what is ajar, of what is between two, a fabric where infinite correspondences emerge.