'In Beto de Volder's work, the notion of a gesture in motion is essential. Each piece indicates or signals a process, and captures it as a form frozen in time that seems to have the potential to spread out, to multiply itself and to become a set of changing possibilities, of 'developments,' as we have in fact verified from some of his other works. His 'objects' -to use again the name favored by Neo-Concretists, ever watchful, like him, for the organicity of forms and even for their communicating vessels with the body -belong to an adjoining territory where endless displacements of various natures take place...

...The gesture of expanding motion not only refers to the proposition of ludic construction and perception, or to the invention of ways to make porous the limits between painting and sculpture, as he brilliantly does in his acrylics on MDFs, but ... rather to the method he uses to construct undulating aluminum installations of various sizes: he extends them horizontally into space, not with a predetermined plan but rather allowing the structure of the work to unfold a set of constructive possibilities that involve the participation of assistants and a dialog with the space. In other words, the interaction with the body and with the space conceived not only as a passive container but rather as one magnetized by a form endowed with organicity. In his abstraction, Beto de Volder has achieved a synthesis that makes it possible for the forms to reach an almost erotic playfulness and sensuality. Thus, this current exhibition at Durban Segnini Gallery is the equivalent of celebrating a curve that potentiates, by playing with abstraction, the vital affirmation of a gesture in motion.