Solitary or composed in groups, Paulo Wirz’s brass figures punctuate the exhibition space as a notation to read through. Maybe as a musical partition, the piece’s rhythm embedded in its visuality, or in a rather religious register, considering, for instance, the velvet-coated panels which give them the sacredness of ritualistic objects. In those latter compositions, the figures are contained in their respective panels, categorized almost as basic elements, building blocks for the exercise of the sacred: the head’s intellect, the predominance of hands and feet, or the overused symbolism of bottles and fruits. All of those images are already familiar elements within the artist’s visuality, making them pictograms of Wirz’s own artistic language. The procession is here an extension from the universality of belief systems to the intimate act of infusing significance, the mundane rituality of adorning spiritual meaning to stuff.

Although diagrammatic, the works’ public meaning is unclear and…