Text: Francisco Ramallo

             To intervene in a space is like someone marking a place in a book by folding it, bending it the opposite way, until its spine comes loose. In the photograph Porte, 11, Rue Larry, Paris, Duchamp alters a domestic interior by placing a door between two frames, so as to be able to say that the door is open and closed at the same time. In another architecture — an exhibition hall that does not exist — Rodin designs The Gates of Hell, based on La Divina Comedia Dante's Divine Comedy

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             These openings share points of contact, formal analogies, and mechanisms similar to the doors shown in the gallery, where Matías Ercole, with muralist echoes and through endless sgraffito incisions (in their capacity to give identity to the surface), explores the folds of landscape. He does so through simple structures, whose painted surface likens them to those great altarpieces that, after emerging from basic forms in the 11th century, gained spectacle and ornamentation in later styles. Now they are a "relationship of times on the surface of the painting," layer upon underlying layer, covered in tropical lushness interwoven with others.