Canadian artist Max Streicher (Olds, Alberta, Canada, 1958) shows, for the second time, his work in Galería Miguel Marcos (Barcelona).

Under the heading MAMMATUS, the artista has been inspired by latin language. Mamma or udder is the name of certain clouds. In fact, it references to unusual structures, which are formed by descendant vertical currents. Its shape, according to the artist, remember us volatile udders, which expected feed the earth.

Max Streicher brings sixteen years working exclusively with inflatable sculptures, fuelled by industrial fans and simple valve mechanisms, to encourage woven forms. It uses lightweight materials such as Tyvek or Nylon Spinnaker, capable of reacting to drafts movements.

The size of the inflatable Streicher is monumental, overwhelming. That allows his works acquiring a dramatic scale and a detail in their inner life, which result in a particular mood of concern for the viewer.

In the two large halls of Galería Miguel Marcos, there are MAMMATUS paths, placed high enough to tune into them and find out thoroughness with entomological its translucent skin, we cross the border between the land -what is concrete- sky –what is infinity-. In this atmosphere, we discover the cherubim without wings emerge from them, floating in limbo in the manner of the classic head-and Baroque painting, the Venetian Giambattista Tiépolo-, and even reflect on the biblical passage in Genesis in which God breathes Adam from his "vital breath", the soul, to inaugurate the human race. An object that is not breathing is dead. And Streicher stood in the doorway, on the border between the concrete and the spiritual, between the living and the non-living, between visibility and invisibility of the ethereal, always with a dark counterpoint, disturbing forms of Kafkaesque.

In the third of the rooms on display, Streicher presents a series of photographs with rampant horses with who would recreate the Eclogues of Virgil, an uncertain prelude to "Pax Romana".