Tom Carr reinterprets one of the elements that appear in Albrecht Dürer's famous etching Melancolia I and makes it the central form of his artistic offering. A truncated cone-shaped triangular trapezohedron of deceptively simple appearance, though, at the same time, complex to understand: depending on how you look at it, it can resemble a truncated cube, distorted from some angles, or a diamond. The structure combines wooden plates joined by a minimum number of strings and knots causing small openings at the edges. Some of the faces are empty and allow the public to see inside. A sequence of light textures are projected onto this work giving different readings on the shape and space surrounding it: a solid transformed by shapes, some of which are understood and others only hinted at, and which mixes rough and smooth, order and disorder, light and heavy. Blinding light and illuminating darkness. A calm and fascinating mixture between sense of loss and infinite need. The irony of the inevitable fleetingness of the moment.

Tom Carr has a PhD in Fine Arts from the University of Barcelona and has taught at the Escola Massana, Blanquerna, the Institut Universitari de Cultura and the New York School of Visual Arts. He gives lectures and workshops at museums and schools in Spain, Europe and the United States. He started off, back in the 1980s, working on installations, sculpture, paintings and drawings, ranging from symbolic figurative art with architectural references to practically engraved structures, generated by the physics of the materials, always searching for strength in simplicity. Light is also a central feature in many of his works, from analogue projections in Lleida's Old Cathedral and the Arts Santa Mònica space to digital projections in New York's Streaming Museum. His works can been seen in museums and public collections around the world: MACBA, the Museo Reina Sofia, the Musée d'Art Moderne de Céret, the Société Générale in Paris and the “la Caixa” Foundation, among other places.