Works resulting from his Residency at the Spanish Academy in Rome between 2022 and 2023. It is a sculpture that plays at being a human body. The well-drawn silhouettes of the work stand out. It is like a collage in which fragments of wood from other pieces, sheets of cardboard lined with canvas, held together with thin wooden strips, staples, seams, clothes pegs, are intermingled. They are separated from the wall by 1 cm so that the hand can reach behind and pick them up. It is like a moving or dancing body that has been caught in a snapshot.

Fuentesal Arenillas' proposal with these works is to make a painting with the means offered by sculpture. A radically different way of making a painting. A painting made from other techniques or disciplines: sculpture, carpentry and sewing. The materials are very special in this case. They are pieces of linen sewn by hand and then stretched over frames of Iroko wood, which is a type of wood that comes from a tropical tree typical of central Africa, characterised by its great value and resistance, and which in Europe has traditionally been used to make musical instruments. They have sewn the linen like someone who draws or paints on canvas. The seams, the folds, the pinching and the cuts, the pale pink colour, so raw and sensual at the same time, which alludes to the fleshy, stand out in these pieces. They are like drum skins according to Bea Espejo. They are a kind of silent, muted musical instruments. And on the taut surface of the linen we can see fabric cut-outs that subtly draw flowers, work gloves, fruit. For Fuentesal Arenillas, these pieces are something like a representation of a great collective throat where memories of his native land in the south are intermingled: the noise and echo of Andalusian courtyards.

They are sculptures made from the moulds, the cutting patterns and the toolboxes they have in the studio. It is a base like a box with Iroko pieces on top that look like heads, but in reality they are the heads that they use as moulds to produce other works (the works that look like hats). The wooden boxes or crates are used by them to move or contain their tools, materials or scenery. They are part of the daily chronicle of the workshop: there are inner cut-outs and carved moulds of all their heads, each box is divided into two acts. One scene takes place on top of the box and the other inside the box. It's like a magic act, the kind where they put a body into a module and then divide it up, and then pieces of the body appear out of order.

The word commissure means, point of union of certain similar parts of the body; like lips and eyelids. These sculptures are like totems that speak of their working process in the studio. It is as if they have traced a form on a piece of paper and instead of keeping the form, they keep the leftover template, the pieces that are discarded during the work in the studio. They take these pieces and join and sew them together, and in this way they make a kind of totem. Such works speak of balance and sustainability in contemporary art by highlighting the disposability of the creative process.