In the proposal conceived for El Patio, Paula de Solminihac starts with drawings of curved lines, similar to water waves, and then sculpts the papers to form a kind of black and red ceramic roots that she then buries in the garden of Nueveochenta. This set of organic matter is also defined as a living landscape, as a metaphor for the inevitability of nature, which grows despite human intervention, and as an analogy of the artist's work, who has been characterized by working in parallel processes that are not linear but rather curved.
