Across fifteen years of continuous work, MEAT, Blue Bags, Yellow Bag and Bar Español form a coherent epistemology of artistic practice in which knowledge is produced through recurrence, displacement, selection and incision. Rather than treating the artwork as an autonomous object, these series operate on the conditions through which reality becomes perceptible. MEAT — Taxidermy / Unstable Installation Series, initiated in 2011 and now approaching one thousand cuts, establishes the earliest and most radical version of this method. Its Taxidermy logic understands the city, the institution and the everyday environment as bodies that can be sampled through fragments. A cut does not attempt to reproduce the whole; it produces an evidentiary fragment from which the whole can be inferred.
MEAT functions simultaneously as sculpture, experiment and epistemic device. Each extraction separates something from its habitual continuity and forces it into another regime of attention. DistinctionHabitat names the boundary temporarily produced by the cut; EvidenceAmbiguity preserves the uncertainty of the fragment, which can remain matter, document, residue and artwork at the same time; InferenceTouch describes the movement through which a minute material encounter permits the reconstruction of a much larger system. After roughly fifteen years and around 950 cuts, repetition itself becomes methodological: no individual fragment needs to be exemplary because knowledge emerges from accumulation, variation and comparison. The series generates an empirical field without converting artistic experience into the illustration of a prior theory. BLUE BAGS — Unstable Social Sculpture and YELLOW BAG — Situational Fixer extend this epistemology through another operation. Instead of extracting fragments from situations, they insert a persistent object into them. Their long geographical and temporal circulation makes the bag a stable variable placed against continuously changing environments. The same elementary form enters streets, galleries, houses, landscapes, architectures and social situations, producing difference through recurrence. This is the logic of SituationalFixer: an object acquires epistemic force by temporarily stabilising one coordinate inside an otherwise unstable field. The bag does not explain the context; it makes contextual differences observable. Across hundreds of appearances, RecurrenceMass transforms repetition into knowledge, while VectorAfterlife describes the persistence of previous locations within every subsequent appearance. Each new situation contains traces of the others, so the work develops not as a sequence of isolated episodes but as a comparative field distributed across time and space. BAR ESPAÑOL — Context as Readymade introduces a third operation and perhaps the most radical reduction of artistic intervention. Here virtually nothing needs to be transported, extracted or fabricated. The existing social environment is itself selected as an epistemic object. The traditional bar becomes ContextReadymade: not because it ceases to function as an ordinary place, but because artistic attention reveals the enormous density already contained within it. Architecture, furniture, gestures, conversations, routines, surfaces, food, television, labour, memory and repeated occupation form an existing relational apparatus. The artistic act consists in recognising that apparatus as a complete configuration of knowledge. CategoryEmergence describes this change of register: the bar remains a bar while becoming simultaneously artwork, archive, spatial evidence and social model. PerceptionDelay is equally important because the ordinary often becomes legible only after prolonged exposure; familiarity initially conceals complexity, while duration gradually reveals it. Across years of observation, countless bars form another comparative field, one based not on controlled sameness but on families of difference. Together these bodies of work establish three complementary epistemic procedures: Taxidermy cuts the world, SituationalFixer introduces a stable variable into it, and ContextReadymade recognises the world as already organised knowledge. The sequence is therefore methodological as much as chronological: cut → fix → recognise. Each procedure tests how little artistic intervention is necessary before a situation begins to disclose its structures. This economy of gesture is central. Knowledge is produced by altering relations of attention: MEAT separates; the Bags recur; Bar Español selects. Through these minimal operations, matter becomes evidence, repetition becomes comparison and context becomes an active epistemic field. Their long duration is fundamental because meaning depends upon cumulative difference: fifteen years of cuts, more than a decade of travelling bags, and a much longer cultural history sedimented inside the bars themselves. Their affinity with science lies not in borrowing its appearance but in sharing some of its fundamental procedures: observation, iteration, sampling, comparison, persistence and the revision of categories through evidence. Art introduces another condition: the evidence remains open. The fragment exceeds data; the recurring object exceeds the controlled variable; the bar exceeds the sociological specimen. Each retains aesthetic, material and interpretative surplus. Socioplastics emerges precisely within this productive tension between empirical attention and conceptual openness. Its field is constructed through operations capable of producing knowledge without closing meaning: cutting reality into readable fragments, fixing situations long enough for difference to appear, and recognising existing contexts as already complex intellectual constructions. What these works demonstrate across fifteen years is that artistic practice can function as a genuine mode of inquiry when its gestures are precise, persistent and repeatable.
