The name of this series, Obosom, was quoted in one of writer Robert Graves’ essays, on wich he mentioned:
“Obosom was a visible manifestation of the Kra or vital force derived from the moon and enjoyed a limited part of goddess moon full power.”
Under the name of Obosom some Africans tribes named certain natural world deities associated with the moon, which could be extrapolated to western culture through virgins, which inmany cases have been merged with pre-Christians beliefs linking with landscapes, lakes, rivers, mountains or natural events.
Obosom series tries to condense the magnetism of religous iconographic representations, both primitives, in the sense of tribal art, and Christians, under minimalist forms in which the volume is contingent in the purity of form and framed by clearly defined lines.
The sculptures reflect a female anthropomorphical component, focusing on her role of spiritual and virginal purity, turning to round and pure forms which evoke the creative or life-giving component.
Ultimately this series aims to restore the “magic” aspect that gave rise the primitive sculpture and stayed for millennia, the sculpture as an evocative element of natural forces and as a collective subconscious capacitor through universal principles.