Jordi Colomer is concerned with the dialogue the work opens up with the exhibition space. The architectural environment, which he imagines as if it were the inside of a house, becomes important. "I am not so much interested in the value of the pieces as the relations they establish with one another and the stage layout." With an obvious reference to the work of Carl Andre, 45 Gold-Fish (1992) sprang from the idea of making a carpet that could not be trodden on, only seen, thought about or walked around. In this work, which has a strong constructive character, some scraps of carpet, insignificant, fragile elements, fill the gaps that open up in modular blocks of plaster and concrete. Those fragments, methodically distributed, blow the structure of the mosaic to smithereens. There is nothing that occupies the centre of attention. In that hermetic fragmentation everything becomes a compact form, closed in on itself. "I am interested in the rectangular box as a paradigm of the modernity of this century. The right angle is the basis of Western culture, the farthest from nature; in the end, it shapes an artificial landscape." In 45 Gold-Fish, the multiplicity of building models created by the repetition generates among those ideal prototypes a disturbing plastic result with strong tension and dynamism. For Colomer, "if art has any value it is because it is one of the few remaining redoubts where things are not explained literally or obviously."