Since 1993, Susana Solano has made use of new expressive means and media. Her frequent use of photography to reflect on the memory of time through the deformation and degradation of the human body represents a turning point in her artistic career. Architectural spaces, containers of the void as simple presence, are gradually giving way to works that are less rigid and focus more explicitly on corporeal organicism, the contingency of forms. This piece, made of stainless steel wire mesh, clings to the ground as if it were an archaeological find, with clear references to femininity. The artist, interested in exploring the sculptural possibilities of non-rigid material, incorporates a void in a metal mesh that becomes the anthropological vestige of an everyday material culture. Centre and flow, or vibration around aestheticism—memory is materialised in a voluptuous form of virtual movement, a form of great power and rotundity, which defines a space that is at once aggressive and fragile, violent but also intimist and poetic. Círculo: Casus Belli III is hermetic but also transmits lived emotions; it is an artefact that suggests absences and traces of life.