Space, time and light make up the axis on which we articulate this exhibition. Lara's work dialogues with the relevance of time and space, the rhythm of the first and the versatility of the second. Concepts that are beyond his control due to his relativity and those he tries to order by giving them a personal rhythm through light.

Fernando Cuétara incorporates the golden ratio to his work, seeking excellence in the purity of the material, in the distribution of the folds that it causes and that with light accentuates, illuminates, hides. Because it is in perfection where that which time stores memory endures.

Phi, the golden number, golden number, golden section, golden ratio, golden ratio, golden medium, golden proportion and divine proportion. It is simply an irrational number, represented by the Greek letter Φ (phi), named in 1900 by the mathematician Mark Barr in honor of the Greek sculptor Phidias for the maximum aesthetic value attributed to his sculptures.

When the ancients discovered Phi they understood that this was the pattern followed in the creation of nature. Man, in his attempt to imitate the beauty that resides in it, applies the magic of the Divine Proportion to achieve it in all its artistic manifestations. It is present in the sacred art of Egypt, India, China and Islam, dominates Greek art, appears hidden in the Gothic architecture of the Middle Ages and is consecrated in the Renaissance.

Wherever beauty is pursued in a profound way, the golden ratio appears. It does not matter what discipline we try.

The Pyramid of Cheops, the Parthenon, Santa Maria de las Flores, the Great Wall of China, the façade of the University of Salamanca; the Baptism of Christ of P. della Francesca, the Spring of Boticelli, the Annunciation and the Holy Supper of Leonardo, The Creation of Michelangelo, Saturn devouring his sons of Goya, the Meninas of Velázquez; the sonatas of Mozart, the fifth symphony of Bethoven, works by Bartók, Debussy or Shubert; the ribs of the leaves of some trees, the thickness of the branches, the shell of the snail, the florets of the sunflowers ... are just some examples of the reach of the divine proportion that comes to prove scientifically as there is a neurobiological basis of beauty.

There is an order within the chaos that appears in the world around us, an order that organizes, distributes, separates. It is out of our control and observes us. It leads us in the search for the perfect, the sublime, the complete.

Over time, artists, philosophers, architects, mathematicians and musicians have flown through the space of creation following the subtle lines that the golden ratio establishes. I suppose that sometimes consciously, although in others it surely does not.

Time has turned to gold. The space makes it heavy, ductile. The light makes it shine.

Mercedes Lara and Fernando Cuétara talk about these concepts. Time, space and light. His arguments derive by paths that unites water, new element included in the work of both, spontaneous coincidence that facilitates the flow of artistic expression by adding a new content that distorts the apparent reality by playing with sound, luminosity, movement, to transform it. The creation of personal moments and directed environments becomes certainly unpredictable with the appearance of water, which confirms that the most harmonious beauty must always leave a place for the enigmatic, so that each viewer is the only recipient and interpreter of each work.

Yesterday's gold is today's time and tomorrow's water.

Phi as an origin, Phi as a conclusion.