he essence of the industrial process lies in technical reproducibility. That is, it lies in the capacity for rigorous replication of uniform and virtually identical components. The field of art, on the other hand, is traditionally marked by the quality of generating unique and unrepeatable works. The contrast between the two logics of creation, that is, the artistic modus operandi and the logic of industrial production, was, in 1936, the subject of reflection by Walter Benjamin4 At that time, the mass diffusion of moving images inaugurated a new paradigm that disturbed some of the conceptions held about the properties of artistic pieces. Cinema, by definition a producer of reproducible sequences, accessible in a manner disconnected from space and time, transcended the idea of a particular and exclusive aura inherent to the original artistic artifact.

Matrix 45 was conceived with this intention: to design an irregular and imprecise corollary, whose mechanical effect is intentionally imperfect. Consequently, the sculpture resulting from this matrix development is formally impossible to replicate, even if it is conceptually reproducible. In other words, no matter how much one may wish, it would be impossible to achieve the same results using the same processes. Due to the inability engendered in this matrix to extrude the same, the singular power of this piece lies in its fate of disposing copies without an original model. It is an industrial procedure that works in the opposite direction to its nature. Thus, the final object constituted by profiles, despite emerging from the moulding of a virtu- ally infinite flow, can never be repeated in its minutia. The oscillations of the bars are impossible to duplicate due to the very development of the extrusion process. In short, it is the industry’s artistic achievement.