Daniel Fiorda 's sculpture breaks up the logic of representation characteristic of traditional Western-art sculpture. His works are made with discarded metals assembled in a complex and busy structure that recalls a Neo-baroque approach to art. The sculpture's material becomes a morphological generator of its figurative shape. As an archeologist, Fiorda captures the "presence" and the elusive meaning of each fragment, - a glaring coin made of copper, a motor screw, part of a car chassis, discarded remnants of the industrial world.
Fiorda creates a sort of phenomenological machinery with an intrinsic strength; a sort of anthropomorphic figure possessed by a radical ethos . The viewer encounters thick masses of curvilinear metal shapes and centrifugal forces, with sharp ends as weapons or extremities as legs expanding over the space. They articulate memories of an ancestral body, and evoke biological entities, -an insect, a bird, a fish, - or a human body in a critical process.
In Fiorda's sculptures, mechanical heroes, warriors or animals are in a continuous metamorphosis. Their contorted bodies seem to perform a drastic and abrupt dance, as it is in birth or in death. For these figures, it is a moment of transcendental transition. The corpses are tangled and articulated in sudden zigzags. The massive use of the torch has completely melted their bodies,- fragments of copper, iron or aluminum,- and has converted them into a compact and a prosthetic mass.