Aitor’s main work is based on the relativity that comes from art/life sculpture/painting Comfort/instability.
In his practice he develops sculptures in which he introduces materials from everyday life, such as foam padding, sponge and air pillow cushion. In these pieces, he makes an attempt to explore the material properties of the elements he uses, as well as their sculptural possibilities. The aim of this is to move these found objects away from their common usage, while he tries to inscribe them into an abstract aesthetic.
The pieces are halfway between the past usefulness of their components, which is entirely given by their form, and their re-signification as a cultural object.
Although his practice often refers to the opposition link between the notions of provisionality and commodity, the sculptural objects seem to have found that commodity in external elements that simultaneously show their weakness and protect them from the perils of a hostile environment: the atmosphere, the bare floor, the viewer. They’re armours that try to provide comfort to the sculpture’s core while they express their hidden/inner vulnerability. The monumental quality of the sculptures is therefore lost by the introduction of found objects that gives them a naked and vulnerable appearance. Just as if somehow they were scared of their exhibition to the audience, and subsequently, of the potentially unlimited number of interpretations they could trigger.