Gabriel Kuri presents in Siembra his project Statistical Cover Up, a sculptural exercise where a series of objects arranged along the wall occupy the entire length of the space in precise positions, creating a rhythm over an orange carpet. Among them there are objects that were found, manufactured, assembled, some are isolated and others in the immediate presence of variables of their type. These have been altered to a different extent and reveal a greater or lesser degree of specificity and mediation, some more crude and synthetic, others more defined in their function or brand.

Each object has an orange colored band at its base, similar to the carpet on which they are arranged, which creates a certain degree of homogeneity by matching them and turning them all into values ​​of a single equation. This mimetic exercise also seems to want to make them almost negligible value figures and on the verge of insignificance within a statistical graph, closer to waste than to optimization in terms of their semantics.

By alluding to the idea of ​​concealment, this exercise investigates whether when hiding something, another thing equally significant is revealed. Every object is an indicator of experience, potentially a value or numerous valences, and therefore comparable with others of its kind. Kuri has used this type of strategy before, in which he aligns objects in such a way that they can be compared and deciphered.

On the other hand, marking the entrances to the space (and thinking about the circulation between the various segments of the gallery) there are two felt boards/display cabinets with slots, the kind used to write removable messages. Instead of words or figures, these also present small references to consumption or waste: cigarette butts consumed or small denomination coins, of equally almost negligible value. These become small units of affirmation that return from the edges of waste and are recharged with meaning.

Kuri has argued that all artistic language, as well as any other —whether verbal or visual— begins with a process of abstraction of some aspect of the experience of reality. This project is in its simplest definition, perhaps just the expression of this basic idea. He has also argued that changes of scale occur in any process of this type. the artist invites each viewer to calibrate their own proportion to different elements (starting with the exhibition space) and to be actively involved in the generation of meaning.