In the market of Usera, the simple act of raising my arm became a sculptural gesture, a minimal interruption inside the dense choreography of everyday life. Walking with my sister through the aisles, the gesture turned into a quiet performance—an ephemeral vertical line cutting through the flow of bodies, noises, and transactions. It belonged to a wider sculpture series where action, place, and presence are enough to shift perception: a small civic ritual carved into the air. The market became both stage and material, a reminder that a body in motion, when framed by intention, can momentarily transform the ordinary into a site of attention.
