In Pablo Capitán del Río’s work, precariousness appears not only in the use of materials, generally close to the universe of the povera, but also in the sense of the work as a composition always on the verge of collapse. His works, both his interventions that revolve around the recovery of natural processes, and his more objective installations and sculptures always present an imbalance that generates in the viewer an awareness that everything can change from one moment to another. Works that move, that initiate processes, that disturb the viewer’s gaze, but above all that transform their relationship with space and the environment. The constant decision-making regarding the way to face the work, to look at it, to move away from it so as not to be touched by it or not to destroy it, also implies a kind of “care” in perception, a look that intuits that what is It has not always been like this before him, and, of course, it will not remain in that state from now on, in such a way that a kind of urgency is transmitted when seeing and feeling.