Although things have come to such an extent that even the bozos are unnecessary. The outlook is bleak, and with a new stroke of irony the artist sets up a kind of mandala in the wall from a series of hockey sticks, being registered laser titles of dystopian novels.

Sala´s works, regardless of its formal resolution, work always by way of images, not necessarily objectual records. And the so particular dialectic of the works presented here works as a concatenation of stills from our memory, a kind of dejavú in permanent hesitation whether it really was or was not, if this was true, or in any manner. Memories of semi-opaque appearance, moving in that territory between the murky and the moderately known. That keep us in a State of suspicion, in the prism of suspicion.