For his second solo exhibition at the gallery, Javier Pérez continues, through news works, drawings, sculptures and photographies, with his organic approach of evolving matter as well as with his cyclic understanding of the time that goes. He contrasts and mixes at the same time the human body, unavoidably changing to mortality, and the human identity that seems to remain in a perpetual evolution.

The image of the body is sometimes really ambiguous and disruptive in Javier Pérez's works, in sense that it provokes a reaction of attraction or of repulsion, but it is after all always esthetic, sensitive and emotional. The three photographies Eros impose a sensual reality for some people and erotic or violent reality for others, confronting imaginary of the body to physical experience of blood. It is this blood flow that creates the volume of the body on the skin of an animal, as parchment, medium of the drawings Penitentes, gives to watercolor a particular aspect and texture.

But the idea of human identity makes limits of the body less obvious, its evolution more complex. In the series' of the twenty watercolor Raices (Roots), we see as well the body, but also human soul, both seeking to take roots somewhere, really or symbolically, consciously or unconsciously.

Even if death is omnipresent with Memento mori and Aria da capo, it doesn't appear as an unbearable end, but more as a stage of the transformation of the body. The burden of death and time with the 59 skulls of the Rosary that fans all over the floor as a closed circuit, induces an undeniable awareness of mortality, but this reality accepted can be over passed: the lightness of the two skeletons dancing on Bach's Goldberg variation invite to a new cycle, Trans(formaciones) allows the passage from an organic reality to another one.