This is the minimum intervention developed so far with the plane, he transfers it to the block. Thus, starting from a single prism, Mateos proposes a subtle intervention: the making of some cuts that allow him to move the sectioned part and shift it slightly off the vertical axis of the initial prism.

His obsession with the purity of forms leads him back to minimalist approaches, to suggest to us now, with this slight displacement, the soul of the block, its inner nature.

This is the final and inevitable point of the minimalist path that the sculptor followed in this period of Síntesis. In fact, these sculptures form part of a wider investigation called DESPLAZAMIENTOS, which Mateos developed during the eighties, and which gave rise to different proposals and with different materials, including an exhibition of floating sculptures on the river Tormes that Mateos had previously made in Salamanca in 1984.

It is surprising how this series maintains the monumental and architectural character that characterises his sculpture, as it never ceases to suggest large constructions, a particular sky-line of large sculptures, or perhaps... of large architectures.