Jaume Pitarch uses many different art forms linked to both objects (sculpture and installation) and images (photography, drawing and video). He constantly strives for a different kind of visual, objectual or performance-based poetics rooted in commonplace, unimportant things—a way of understanding reality that is guided more by intuition than logic and moves towards another possible mental order between things, language and meanings. In this semiotic and formal alteration of the immediate surroundings, the standardised conventions that govern our usual relationship with objects in accordance with their use or aesthetics become blurred and are replaced by other kinds of perception based on uncertainty and contradiction. In this way, his body of work acts as an endless process of abortive, unfinished adaptation between the work of art and the spectator—something that invites a resignification of the real based on the power of the dysfunctional. In this sense, the sculptures Water Males the Fire and momentum #5, both from 2008, reveal the tragicomic inadequacy and fragility that characterises his work. In one, we see a table with an adjustable lamp heating a glass of water and a candle; in the other, a desk maintains a subtle balance through the vertical sum of its four legs into one.