Olga Blanco investigates the boundaries between sculpture/installation a n d theatrical space and, although in all her pieces she has always designed and created the plastic materials, UNO:MADRE is her first foray into large-scale sculpture and mechanisation. UNO:MADRE is a sound sculpture. The piece presents a 9-metre high structure composed of an intertwined series of chrome-plated rods and a system of MIDI-operated percussion hammers that reproduce a series of disordered notes at the beginning, which are gradually ordered to give rise to a musical phrase composed by Enric Montefusco.Once the phrase has been completed, the machine begins a slow movement (it can do this in a speed range of between one hour and 11 minutes) of unfolding its structure, which reaches a widht of 6 metres.