Like a magnified microorganism that is also a microcosm, Charo Pradas’ circular, con-centric figures incorporate and summarize all living matter. The viewer is fascinated by the endlessly related forms ranging from a butterfly with infinitely multiplied wings to a bunch of grapes or cherries, a broken molecule, a deep, dark hole, cells, an endless spiral inside an empty sponge, bacteria, ovaries, etc. An evolving volumetric ground is united by the threat the theme creates; shapes and connections ironically figure the growth of the world, the big bang.

Mathematics is reduced to arithmetic; primitive