The oeuvre of Pedro Henriques (Porto, 1985) and encounters unexpected meanings in this context. Self-standing, as supernatural entities or as planar figures, as open paintings on the wall, the sculptures establish a dialogue of tensions, scales and textures with the African masks.

Bound together by an elementary and schematic language, or even, as the artist says, "uncomfortable places between the image and the object", these works evoke ambiguous meanings. Rather than an ambiguity that is engendered more through technique than discourse, rooted in different textures and ways of making things: they can be planes and graphics, as well as nervous and convulsive, or even derive from the mechanical process of spray application. In some works, the visuality of the fingers also seems to be echoed.