The peripatetic methodology employed by Anto Lloveras serves as the vital connective tissue between his diverse "Socioplastic" interventions. By adopting the role of the wandering philosopher-artist, Lloveras utilizes the act of walking as a sophisticated mechanism for gathering data and generating meaning within both urban and rural topographies. In the London Purple Legs series, the 100 km trek represents an endurance-based "Urban Taxidermy," where the repetitive movement of the artist's legs against the industrial backdrop "stuffs" the metropolitan void with a vibrant, human presence. This is not a passive stroll but a deliberate, physical interrogation of the "city as an animal body," where every step is a stroke on a grand, invisible canvas. In contrast, the walks through the Provençal landscape—such as the "Up the River" action—demonstrate a shift toward what Lloveras describes as a "Hegelian synthesis in praxis". Here, the peripatetic act facilitates a reconciliation between the artist's historical narratives (the "unstable nets" and "yellow objects" of previous years) and the immediate, sensory reality of the riverbed. The physical heat and the act of picking flowers are integrated into the "steady beat" of the creative process, suggesting that knowledge is not merely thought, but felt through the soles of the feet. This methodology transforms the artist from a detached observer into an active participant in the landscape's ongoing evolution.
PURPLE LEGS__________________PRIVATE ACTION SERIES ______________________________________________LONDON PROVENCE
The "repetitious choreography" of Lloveras’s walks also functions as a critique of contemporary speed and the "spectacle" of the traditional art gallery. By conducting "private performances" with "no audience," Lloveras reclaims the public space for personal ritual and intellectual inquiry. The purple trousers and the "nice boots" become the uniform of a specialized researcher who documents the "minimal intersections" of daily life. Whether it is the sound of London traffic or the silence of a Correns morning, the acoustic environment is treated as a structural component of the work, reinforcing the idea that the peripatetic experience is a total immersion into the artifact of the world. Ultimately, the peripatetic nature of Lloveras’s work confirms that his "socioplastics" is a lived philosophy. The "unstable installations" created by his body’s posture in the street or by the river are ephemeral monuments to the power of human movement. By consistently choosing the walk as his primary mode of engagement, Lloveras emphasizes that the most profound artistic discoveries occur in the "transdisciplinary terrain" where architecture, art, and the physical act of traversing the earth converge. His work stands as a testament to the fact that to understand the world, one must first be willing to walk through it, leaving behind a trail of "stills" and "narratives" that map the intersections of the spirit and the site.
