In situating Mario Molins within the contemporary art scene, we see his singularity: a sculptor who resists spectacle to insist on ceremony, who resists acceleration to insist on continuity, who resists oblivion to insist on memory. His conviction that sculpture can still be spiritual is translated into forms that privilege wound over perfection, memory over erasure, resilience over fragility. The originality of his practice lies in its refusal of superficiality, insisting instead on the deeper rhythm of ritual and the dialogue with nature.
