Leonor Antunes's sculpture is configured in space by means of an extremely precise staging, which in turn generates and transforms the space it occupies. Her sculptures strike up a dialogue which constantly renews itself; a dialogue into which the spectator can furtively enter through its intervals - the spaces defined by the presence of the sculptures, between their shapes and their surroundings. Once inside, apprehension of her work necessarily entails abandoning the hope of any symbolic interpretation. Her sculptures are not rooted in any primordial origin, nor do they represent or document a reality that is outside of them. As a result, viewers are always perturbed by her work: in the first place by its density, its texture and its composition - the means by which it constructs its meaning. In this sense, the work could be said to be typically 'modern', as it vindicates its formal nature, its 'construction'. But the sculptures also recognise their historical and anthropological context. For Antunes, sculpture must be related to the way it appears and the way bodies gain access to it. All her work partakes of the silent anthropomorphism that Georges Didi-Huberman discusses in relation to Tony Smith and Robert Morris's sculptures (in opposition o Rosalind Krauss's understanding of Minimalism as lacking inner signification). Size, scale and proportion are key to her work; her sculptures focus on this connection, on the interval between us and the presence of the works. Disproportion, miniature and monumentalisation are lines of investigation for Antunes, but in her work the human scale, that 'silent anthropomorphism', is perturbed in many other ways.

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