The object is dislocated from its original context and the materials —often industrial, raw or worn— are re-signified through gestures of tension, suspension and assemblage, her approach is not merely formal but relational, situating the sculptural practice as a negotiation between material resistance and bodily memory, in this sense, Crespo's sculptures resemble short-bitten nails: they expose a compulsive erosion, a subtraction over time, a corporeal index that has been pushed to its limit, as seen in her works such as Helmets or Voy, sí, the use of straps, rods, seams and textile fragments creates an atmosphere of precarious equilibrium where each element seems temporarily held in place, as if in a state of physical anxiety or intimate vulnerability, her process embraces found-object methodologies and echoes surrealist object-trouvé strategies, yet moves beyond them by emphasizing not just estrangement but tactile proximity, Helmets, for example, reveals anatomical forms devoid of function, fossils of a domestic or bodily past, while in CORE (2022), the public installation in Bilbao, modular cement forms open to human interaction, revealing cavities that suggest resting places, hiding spots or architectural prostheses, thereby transforming sculpture into a space of pause and reflection, Crespo’s oeuvre, therefore, offers a vocabulary of touch and fracture, of assembling without fixing, and of giving form to the unfinished, inviting us to inhabit what breaks, rather than what endures.
