We like to think about Wings of the City not merely as an exhibit, but as an intervention into public spaces. This means that by placing the sculptures along a given place, we’re not only asking for people’s contemplation but seeking for actions, changes within the city’s landscape, asking how we interact with places and how art is able to modify our relationships with our environment.Public Space Interventions, art-wise are very important means of expression nowadays because they allow for art to socialize, to step outside Museums and Galleries and become a part of daily life.

An intimate moment of absolute compassion and devotion. Two bodies that strive to become one. A winged man holds a woman who seems to be slipping away as if he’s witnessing her last breath, a moment of transcendence.

This piece, like Monumental Split, is a symbol of human’s body perfection, able to perform actions, movements, that seem impossible. The mask he wears invites us to project ourselves in him. His presence in a public space might be interpreted as a reminder of coexistence between humans and their environment.

Archivaldo’s wings rise almost vertical, parallel to the straight body that’s kneeling upon an orb. We find the figure of an observer, a being that looks and analyses at the distance: there’s seriousness and silence upon his face hidden behind the mask. Maybe he’s a guardian, a protector that safeguards what, in that orb, might be seen as the world.

The anatomical perfection of this artwork reflects the influence of the Renaissance and Classic Art in Jorge Marin’s work: A man enclosed by two circles, reminiscence of Da Vinci’s Vitruvius’ Man: a human center in complete awareness of the beautiful and intricate machine of his body.

Body is a constant in Jorge Marin’s work. In this case, the capabilities of a man are represented: his strength, flexibility and desires. Monumental Split joins these visions, by representing them in a body whose modeling reminds us of the classical sculptures. A showcase of strength and desire projected in an anonymous being, hiding behind a mask that gives us the chance to mirror ourselves in him.

What iconic characteristics do we find in him? Bernardo Oriental, as part of the series of winged creatures, possesses some strong characteristics that make him unique, for instance, the position of the body, which stands almost photographic, as if an action frozen in time, captured at the moment about to stand and take flight. Upon his head, he wears an aviator’s hat: the dream of flying materialized into the human condition. This might also be represented by the orb where he sits upon the flying man, conquering the skies.

The name of this sculpture reminds us of a group of stars that, during the months of July and August, seem to rain upon us. These are a group known as the Perseids, because they are born in the constellation of Perseus. Maybe the name comes from them, and so, we might find in this winged being the delicacy of those meteorites, symbolizing a union between heaven and earth, the divine and the human.

Compared to the anatomical perfection and idealistic completeness of Universal Man, time, a fragmented body, asks us whether it’s building itself or dissolving by its age. The composition of this sculpture, modelled in classical proportions, reminds us of archaeological ruins, broken objects that wait for us to tell the story behind them.

The two monumental wings allow spectators to stand in front of the piece and become part of the artwork, completing it. They rise as a universal symbol of freedom and hope. As the never-ending and, overall, human dream of flying.

Jorge Marin is one of the most recognized contemporary Mexican artists. He is mostly acknowledged by his work with bronze sculptures, in which he plays with different dimensions: from the subtlety of miniatures to the excitement and astonishing display of monumental artworks.Over the last decade, he has consciously worked towards bringing art to public spaces, looking for a more social consumption of art.