When Giacometti went through that moment of inflection that led him to make the transfer from the interior model to the exterior, he began to reduce forms to a minimum, undertaking a conscientious analysis of the relationship between matter and space that resulted in a significant increase in his expressive value. In a similar process and from an abstract position, Rui Matos strips sculpture of its materiality in order to draw in the air, giving form to a void that becomes a substantial constituent element of his compositions.
The filiform outlines of iron painted in flat colours, possibly inspired by natural forms, harmonise geometry and gesture, adopting different configurations and causing matter to embrace space in order to make it be. His is a resonant emptiness that is revealed within each piece; however, it has little to do with nothingness or absence, as it makes the forms be perceived from a dynamic perspective and deeply connected to life. It is a void that, despite its invisibility and intangibility, is present, just like the matter that outlines its contours. Drawing thus becomes the vehicle for generating experience that lies at the root of all that is visible.