It is as if there was a generic principle, or a final horizon around which Pedro Tudela's work would turn. That principle or aim, as they mingle and confuse themselves, just like the beginning and the end of everything mingles and confuses, would be the creation of a total sensorial engagement.

This total sensorial engagement is something that the author has been proposing to the spectator through the creation of environments, the presentation of performances, the presentation of sets of organic paintings or by producing installations which, like the present one, totally occupy and redesign the room they fulfil not leaving a way out. In recent works the use of sound turns even more accurate and explicit this appropriation both of the room and of the visitors. The same obsessive effect is also produced by the concerts of the author. From the moment we enter, if we want to enter, we stay inside. There is no way out. Yet, we may guess that this total sensorial engagement is something the author chooses - I do not know if he wishes, because wishing is something else - and produces, above all, for himself. It is a way of penetrating and revolving, himself in his self. The works are a way of relating that experience afterwards. A kind of a dive in his self.

Finally, and here we come perhaps to the most important, it is worth to say that we are not facing a game with the spectator, nor facing the mere autobiographical expression of a subjectivity. What is in the core of Pedro Tudela's work is probably something more ambitious and more difficult: it is a theory of the body, conceived and represented with a mass of organic matter, which moves for a certain period of time, between the urgency of agony and the dream of a rhythm.

In Pedro Tudela the theory of the body lies in the moments of rupture and violence, accident or crash, shot or aggression. That is birth and death. We would say that the redemption is in the evocation of the spaces before and after those catastrophic moments. The spaces of organic fusion and fluctuation before everything started. The promised spaces of ethereal fusion after everything finishes. Between the noises of the deepest things of the earth and the appeals of the highest skies. The during is only this.

It is because of this that Pedro Tudela's work is not an amiable work and that the sensorial engagement we have been talking about has nothing of comfortable nor pacific. There is violence and pain and that is energy and is the life. And it is like this we feel it, total.