In his work Eduardo Basualdo researches limits; the beginning or the end of a physical element or psychological condition. In this context, he is especially interested in intermediate states – states in between two states or the barrier of an element, which distinguishes it from another element.

The newly commissioned installation Sky by Eduardo Basualdo will consist of a glass box with a clear lacquer print of a bird’s body, a lamp and a string. Basualdo uses glass, it’s materiality being close to invisibility, to define a physically clear yet visually hard. A nearly invisible see-through print of a bird, it’s torso, head and wings, is placed in the center of the frontal glass-sheet. A strong lamp spotlights this print from the inside of the glass box, creating a shadow of a flying bird onto the wall outside of the glass box. This shadow of the see-through print appears to be more visible than the clear print itself – reinforced by the strong light. The light is shining towards the viewer,irritating his eyes by trying to see the clear print against the light, but at the same time leading the view towards the shadow on the wall.

The print takes reference to natural imprints of birds on windows. Flying against the glass panel with high speed, their body fluids often leave an accurate yet nearly invisible imprint. An imprint of the lacking awareness of the barrier between two spaces, which leads the birds to death. A string running through a small hole in the glass seems to sketch up the connection between the two spaces, the passage between the inside and the outside, between here and there. It stands incontrast to the accidental flight of the bird finding it’s end at the barrier from glass. The string overcomes the barrier, like the light that transports the physical memory of the bird as a shadow. Since the walls aren’t lucent, they function as a second barrier, a barrier for the bird’s image transported by light, functioning as a screen for the bodies shadow.

Within Basualdo’s practice, the installation Sky marks a start of a new body of work. In former works he researched the limits of physical elements and psychological matters using black aluminum foil,hence creating the illusion of concrete, heavy objects. His new most recent works can be seen using an opposite approach: Glass, which doesn’t obstruct light or therefore our view, enables reflections which question barriers based on visual openness. The definition of glass as a barrier, but at the same time as an opening – is a question discussed in depth e.g. around modern and especially inside-out architecture - is visualized and newly examined on the example of daily used materials and banal happenings studied in reality, transported to fake and abstraction.

"The body is not what I'm interested in. I try to highlight the limits of our bodies. I think of architecture as a kind of exoskeleton, which holds and controls us and at the same time establishes unique ways of relating to it. Like looking through a piece of glass but being unable to physically get to the other side, while perceptually and mentally being able to pass through it; or confronting the possibility of being crushed by a stone; or even finding oneself facing a jail whose walls can easily be walked through."—Eduardo Basualdo