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Waltercio Caldas started his artistic practice in the 1960s, a period marked by the Neo-Concrete movement. Neoconcrete artists rejected the pure rationalist approach of concrete art and embraced a more phenomenological and less scientific art. Caldas pushes the paradox between presence and absence, and between transparency and opacity, to its extreme. This paradox is reinforced through a play on mirrors, a recurrent technique in his work. Here again, the artist develops the idea of reflection without actually employing mirrors. In creating several planes where lines and objects replace the reflections of one another, the artist reveals a three-dimension mirror and materialises the idea of reflection, a process he considers as a functional dismantling of the mirror2. Thus Caldas goes beyond the duality between presence and absence, positive and negative, and manages to reach a paradoxical fusion between a tangible reality and thought.