This monumental sculpture exemplifies Tapta's lifelong pursuit of a language in which material, movement and space become inseparable. Rather than conceiving sculpture as a solid mass, she transforms it into a dynamic presence: a work that unfolds through the tension between flexibility and structure. The sweeping curve of the neoprene embraces the upright corten steel plane, creating a composition that appears both monumental and remarkably light.

Throughout her career, Tapta challenged the traditional boundaries of sculpture by introducing industrial and textile materials into the field of contemporary art. Neoprene, a material associated with technology and industry, became one of her preferred media because of its ability to bend, fold and respond to gravity. Combined here with the weathered surface of corten steel, the work establishes a dialogue between softness and rigidity, permanence and transformation.

Rather than depicting a recognisable subject, the sculpture invites viewers to experience rhythm, balance and the surrounding architectural space. Its changing silhouette reveals new relationships from every angle, making movement an essential part of the viewing experience.

Tapta, pseudonym of the Polish-Belgian sculptor Maria Wierusz-Kowalski (1926–1997), arrived in Belgium as a political refugee after the Warsaw Uprising of 1944 and trained as a weaver at La Cambre in Brussels. From the late 1980s she turned from textile to industrial neoprene, joining rubber panels with metal fittings into open, articulated structures. She led La Cambre's textile workshop, shaping a generation of Belgian sculptors.