[...] Brey’s “boxes” are only boxes in a single sense. They appear ordinary and familiar from the outside, but at the point of contact, interaction or performance they begin to unfold. The material and situational complexity of works like Sutra, 2010, The Black Cube, 2012, Water 2013, The Uncanny, 2015 and others, reveal themselves to be constellations within a Caribbean universe. Through them, Brey speaks to the infinity of the natural world, the sublime possibilities of one’s dreams and imagination. In part, these works also act as psychological container of fractured history, blurred and concise memories through material, form and experience.  

Adrift by Erica Moiah James

Ricardo Brey: Adrift, 2019

Every Life is a Fire / Boxes transcends the boundaries of traditional presentation. It exists in multiple forms. Depending on the setting, Every Life is a Fire / Boxes can be experienced as a sculptural piece presented at various stages of display, or as an interactive installation, in which the sculptures are opened or moved by the artists, volunteers or, in some cases, the public itself. Every Life is a Fire / Boxes invites the audience to explore their content, unveiling symbolic layers that reflect on themes of life and transformation. Each modality encourages the viewer to engage with the artwork in different ways, whether by observing its physical structure, participating in the process of opening the boxes, or witnessing others interact with the work. This adaptability fosters an evolving relationship with the piece, revealing new layers of meaning with each activation. By embracing fluidity in form and the element of human interaction, Every Life is a Fire / Boxes redefines how art can be experienced beyond static presentations, drawing attention to the collaborative and transformative nature of the work.