The Purple Legs series posits the city as an "animal body" where the artist’s own physiology acts as both a surgical probe and a structural graft. Influenced by the "instant installations" of Erwin Wurm and the fictional explorations of Tim Crouch’s My Arm, Lloveras transcends theatricality by executing a "repetitious choreography" devoid of a traditional audience. In this London-based iteration, the artist’s legs, encased in purple fabric, are elevated 100 times against the stark, metallic infrastructure of the city. This act of "Urban Taxidermy" effectively "stuffs" the metropolitan scenario with human presence, transforming the mundane sidewalk and bicycle racks into a podium for private ritual. The urban landscape is not merely a setting but a "great scenario" that demands a physical, almost athletic response, bridging the gap between static architecture and the fluid movement of the "socioplastic" body. Lloveras’s methodology in London—walking 100 kilometers in "nice boots" under the acoustic shroud of "neverending traffic"—functions as a durational performance that mirrors the intensity of his 30-kilometer walks in Provence. The purple pants serve as a chromatic anchor, a "monochrome" intervention that disrupts the grey palette of the East London cityscape. This peripatetic labor is an exercise in epistemological mapping; by subjecting the body to the elements—sun, clouds, and rain—the artist absorbs the "animal" rhythm of the city into his own muscular memory. The performance is inherently unstable, existing in the tension between the permanence of the city’s steel and the fleeting, repetitious gesture of the uplifted limb. It is a radical rejection of the "spectacle" in favor of a "private collection" of moments, emphasizing that art is an ontological state rather than a commodity for public consumption.
