In his sculptural work, Paulo Wirz creates “alternative spaces” whose evocative power derives from the use of symbolic materials or objects. The twelve wooden modules placed on the ground operate as elements of a story within a story, in which allusions to death are blended with allusions to the countryside or to ritual. We are therefore invited to gaze into the deep blue of what might be an empty swimming pool before moving on to the décor of a Jesuit church or poking our noses into the dust. In what looks like a collection of miniature reliquaries, fruits, wax, mirrors, branches and ashes appear as symbols of vanitas, expressed by the artist in minimal forms. Combining the vocabulary of Donald Judd with that of Spanish Baroque, Paulo Wirz offers us a profound reflection on the passage of time. He creates a composition that is at once open, poetic and precise: the ideal form for a project he has been working on for some years.