The process when designing a chair is more or less the same as that of clothing, causing a sensation in the workshop that all these cut-outs (patterns), accumulated and reviewed with pencil could be rapidly reassembled over and over again on different types of wood, composing other templates such as rocking chairs, small tables, shelves or even a city model. Each piece ends in different ways and with different curvatures in the upper part of the backrest, forming moderately sensual structures with which we rest and in which collections of fine lines and narrow gaps are articulated. There they are, hand made, covered with sawdust, plunged. Many of them made from magazine or publicity paper, revealing broken phrases and marks that guide the carving on the wood. 

In this series we talk about what happens before sculpture. A volume, produced via the very trade itself when performing it, where tools and materials come together, seized and settled just like the way a straw hat rests on our heads.'

Unfortunately, printmaking is not usually a part of the discovery of emerging artists. This condition has to do in large part with the economic circumstances of this medium, whose production costs easily equal, or sometimes even exceed, the value of the final results. We are therefore very often obliged to search for established artists with a wide itinerary with whom the value between the single and the multiple work disperses and softens the apparently never-ending and seemingly inevitable fetishist discussion about serial art. Never the less, occasionally we come across artists whose work stand out, both because of their originality and visual impact as well as their sheer talent, which fortunately pushes us to forget all about the established guidelines in order to get down to work and immediately produce new pieces with them.

 Julia Fuentesal and Pablo M. Arenillas studied at the University of Fine Arts in Seville. They have lived and worked in London, Berlin and Madrid, where they currently reside. Their work explores the mischievous dimensions of artistic practice, with pieces that intersect autobiographical aspects with formal resources such as the double figure and repetition. In their work processes, wood has a privileged place, turning toward the trade as a reference. They have proposed everything between games with small pieces, to large panels, recovered beams, warm floors, sculptures or spaces, testing and finding stimulated forms for the gaze and the body likewise.

In 2021, Fuentesal Arenillas inaugurated the exhibition Cubierta brilliante/Margen delgado [shiny surface/thin margin], curated by Juan Canela en the Sala de Arte Joven, under the programme of artistic production at the Comunidad de Madrid-DKV in Madrid (ES). Their work can be found in the Colección Comunidad de Madrid CA2M (ES), the Pietro Molina_s Collectio_n (IT)
, the Fundación Banco Sabadell (ES), El Blueproject Foundation (ES), the Colección SCAN (UK), the Colección CuldeSac (ES), the 
Colección DKV Madrid (ES), the Fundación Universidad Complutense (c a c) (ES), the Fundación Universidad Santa Isabel de Hungría (ES), the Fundación Universidad de Huelva (ES), the Fundación Newcastle (ES), the Ayuntamiento Genalguacil (ES) and the Fundación Valdearte (ES) amongst others.