The material presented constitutes not a portfolio but an epistemic apparatus, a living archive wherein the term Socioplastics functions as the gravitational centre for an extensive and evolving body of work. This is a system that rigorously refuses disciplinary autonomy, positioning artistic labour, architectural proposition, urban research, and pedagogical transmission as mutually constitutive operations within a single, coherent framework. The coherence, however, is not one of stylistic uniformity but of procedural fidelity; it resides in the persistent application of a method that treats the everyday as a reservoir of latent meaning and the context as a readymade studio. What becomes legible across this accumulated documentation is a practice dedicated to the manufacture of situational agency, crafting objects, actions, and spaces that function less as discrete artefacts and more as catalysts for relational encounter and critical reflection. The sheer density of the archive—its proliferation of series, geographies, and collaborative nodes—testifies to a durational commitment that positions the artist-architect not as a solitary genius but as an orchestrator of conditions, a weaver of temporary publics.
Central to this operative logic is the figure of the Situational Fixer, a role embodied most explicitly by the itinerant coloured bags—blue, yellow, red—that traverse the work like recurrent grammatical structures. These are not sculptures in any conventional sense; they are translatorial objects stripped of aesthetic pretension, their chromatic banality a form of camouflage that permits unremarked circulation across the disparate territories of domestic interior, urban thoroughfare, and institutional white cube. The blue bag, first deployed in 2014 across Madrid, Berlin, and Cádiz, establishes the paradigm: it does not seek to arrest attention but to absorb and reflect the specificities of its temporary location. Placed on a park bench, carried through a market, draped over a gallery plinth, it operates as a mobile index, its meaning generated entirely by the accumulated layers of contextual displacement. This is sculpture reconceived as a temporal practice, a durational performance wherein meaning accrues not through spectacular intervention but through the quiet persistence of recurrent gesture, the minor act of placement and relocation that renders visible the otherwise invisible infrastructures of daily maintenance and transit.
The architectural and urban propositions embedded within the archive reveal an analogous commitment to process over fixed form, yet operate at a different scalar register, engaging the material and regulatory fabric of the city with equal measures of poetic intuition and technical rigour. Projects such as El Palmeral, the honourable mention for the COAM Manzana Verde competition, articulate a vision of sustainable urbanism grounded not in technological novelty but in historical continuity and social infrastructure. The proposal for a dense, walkable, mixed-use neighbourhood in Málaga, with its integration of tower buildings, low-rise housing, urban gardens, and shaded boulevards, reads as an urban-scale manifestation of socioplastic principles: the city itself becomes a situational fixer, a framework designed to foster encounter, ecological performance, and community resilience. Similarly, the NTNU City Campus 2050 proposal, developed under the URBANAS rubric, extends this logic to the pedagogical realm, imagining a fjord-connected, compact campus where architecture, ecology, and learning are woven into a continuous fabric. These are not utopian diagrams but operative manifestos, grounded in the specificities of site and programme yet reaching toward a model of urbanism that prioritises adaptability, permeability, and the cultivation of shared meaning over the monumental certainties of an earlier era.
Intersecting with these scalar explorations is a persistent engagement with the body as both subject and medium, a terrain where the socioplastic method confronts the raw material of physical presence and its representation. The Blue Pants series, wherein a pair of trousers becomes a recurrent motif—worn, arranged on sand, painted into landscape—exemplifies a strategy of synecdochic substitution, the garment standing in for a body that is simultaneously present and absent, material and spectral. This negotiation of identity through the proxy of clothing extends into the performance-based works: Double Sided, the collaboration with Mateo Feijoo, strips the stage to its barest elements, allowing two bodies to generate a complex visual syntax through the subtle variation of repeated gestures, an aesthetic of deliberate simplicity indebted to Beckett and American minimalism. The LACALLE project, a performative-urban intervention active since 2010, weaponises this bodily presence in public space, transforming the walking, sounding artist into a poetic antenna, a wearable sound apparatus amplifying voice and gesture within the overlooked acoustic environments of the city. Here, the body itself becomes the ultimate situational fixer, a mobile device for reappropriating the street as a site of affective protest and civic encounter.
The archival structure itself, with its dense taxonomic organisation and its insistence on series, collaborations, and chronologies, must be understood as integral to the work's meaning, a self-conscious performance of knowledge production that mirrors the relational principles it documents. This is not a passive repository but an active cognitive map, a rhizomatic network wherein each project, essay, or exhibition exists in dynamic relation to every other. The explicit referencing of theoretical touchstones—Foucault, Deleuze, Bourdieu, Preciado—alongside the meticulous documentation of micro-gestures and ephemeral interventions, constructs a field where theory functions as practice and practice generates theory. The CAPA platform, emerging from LAPIEZA, formalises this cross-pollination, inviting philosophers and artists to co-develop micro-essays and graphic concepts within an agonistic, non-linear conversational framework. The result is a distributed intelligence, a cloud-based archive of synthetic ideas that operates as both method and product, demonstrating that for this practice, the construction of a shared conceptual lexicon is as vital as the fabrication of any tangible object. The archive, in this sense, is the ultimate unstable installation, a work perpetually in revision, its boundaries extending with each new collaboration, each relocated bag, each filmed encounter.
Ultimately, the work collected under the sign of Socioplastics articulates a coherent and rigorous response to the conditions of cultural fragmentation and digital acceleration that define the contemporary moment. It refuses the consolations of stable objecthood and fixed meaning, embracing instead a mode of practice that is inherently mobile, translatorial, and relational. Whether manifest as a plastic bag migrating through the streets of Lagos, a proposal for a sustainable neighbourhood in Málaga, a performative double-act on a minimalist stage, or a theoretical essay circulating within an online archive, the work consistently performs a single, essential operation: it renders visible the connective tissue that binds bodies to spaces, objects to contexts, and individuals to collectives. By insisting on the durational, the situated, and the collaborative, this practice proposes an ethics of attention calibrated to the precarious and the provisional, demonstrating that meaning, like sculpture, is not found but made, through persistence, through care, and through the patient, iterative work of placing one thing next to another and attending to what emerges.
Lloveras, A. (2026) Socioplastics: Sovereign systems for unstable times. Available at: [Provided Source Text].