In Amorales’ work, the mask is presented as a limen established between opposites: the real and the virtual, the public and the private, the inside and the outside, etc., as a language with which the rhetoric of a new subjectivity can be established, which makes possible the creation of a new existentialism located between opposites.

For the work “The Serpent of the Days,” commissioned for the courtyard of the Kaluz Museum, Amorales produced a new installation built by replicating hundreds of times the shape of a neutral mask in aluminum and ceramic. With the aluminum masks he formed a kind of mythological snake (which functions as a large metallophone) that floats on a sea made with the ceramic masks, which were distributed on the floor. This installation of mythological dimensions is inspired by the experience of the coronavirus pandemic, assuming it as an extensive moment of uncertainty that has affected us emotionally in ways that we still cannot measure. “The Serpent of the Days” seeks to express the horror that we have been experiencing as a society, as a monument dedicated to hideous.