The exhibition echoes a mythological open narrative of an encounter at the shore of a lagoon. Some fragments of this narrative suggest a hybrid being, a recognition of otherness and an embrace of different bodies: two facing characters that become everything and change over and over into the landscape. This speculative fiction takes place in a possible ancient past or a far away future where technologies have become organic.

Half Blood Princess features a series of sculptures, paintings, and installation elements that sets the stage at a place in between exterior and interior. Through the use of two large lattice that dictate the flow of entry to the show and the pace of the story, the context of the experience becomes about looking and being seen. The exhibition is comprised mainly of works that live between painting and sculpture, putting in evidence its formal propensity for fading limits and merging opposites. This new body of work constitutes a closer approach to figuration in direct contrast with mechanical line abstractions.

As part of their collaborative practice which enables the coexistence of differences and the process of interrelation, the works go through a series of material processes of alteration and modification that resist the casting processes and puts into play interrelations of materials. As a metaphorical figurative element, the liquid in the lagoon repeats through the exhibition suggesting a moment of submersion, and a possible process of becoming.