Regina VI

‘What mainly interests me is introducing very different registers into a single piece. So the lower part, which is precisely the conventional face of the image, becomes more static, whilst the upper part, the headdresses on each head, turns into the opposite, an image of movement. And I must admit that I adore the pronounced tension that is established between the two parts; it’s as if they were two entirely different sculptures. And the challenge is having them function as a harmonious whole, as well as allowing their initially different formulation to be seen not as something separate but rather a something enriching’
(M. Valdés, quoted in V. Porcel, ‘Conversation with Manolo Valdés’, in Manolo Valdés, Paintings and Sculptures, exh. cat., Pera Museum, Istanbul, 2013, p. 27).