In July, he will take over the Hamburger Bahnhof, the national gallery of contemporary art in Berlin, with a monumental installation, the largest of his career, in which his inflatable, organic, amorphous, sensual and colorful sculptures, reminiscent of intestines, worms, breasts and larvae, will collide with the industrial aesthetic of the old station. And this February she won the Arco prize from the Community of Madrid for her work Crecimiento. The biomorphic art of the Barcelonan Eva Fàbregas (1988), who has lived in London for more than a decade and returned to the Catalan capital just a month ago, is in the spotlight.

And today he inaugurates a singular exhibition at the Botín Center in Santander, whose walls he literally crosses with his new piece, Oozing (Oozing), co-produced with Macba. A throbbing and overflowing organism, apparently in uncontrolled growth, formed by the accumulation of inflatable sculptures that remind us of the entrails of a living being on a giant scale. Or to an alien world. Sculptures that throb, pierce the walls and surround the rooms with works by other artists chosen by the creator.

Es Enredos: Eva Fàbregas, an exhibition that can be seen until October 15 and that opens a new exhibition chapter for the Cantabrian institution: the artist has been one of the many awarded scholarships by the Botín Foundation in the last three decades and the center de arte now wants to support its former scholarship holders to produce and exhibit new work. And, at the same time, getting them to offer new perspectives on their collection, from which Fàbregas has chosen works by other former scholarship holders such as David Bestué –powerful sculptures modeled by hand that evoke parts of the body of his partner, then in another country– or as the Cabello/Carceller duo.

Of these artists, he has chosen to show works from his Archive: Drag Models, photographs of intersex people at birth who were assigned the female sex and now recreate mythical images of male actors, from James Dean to Heath Ledger in Brokeback Mountain. He has also selected to accompany her leather harnesses by Leonor Antunes “loaded with power, discipline and desire”, and some photographs by Asier Mendizabal that portray the pieces of the gondolas where the oars are fitted and that now evoke sex toys.

Works that fit perfectly with the drawings and sculptures of resin, latex and air by Fàbregas, sensual but disturbing, which oscillate between care and threat, on the verge of a metamorphosis or perhaps already the remains of one. “The show is an accumulation of sensations, vibrations, an accumulation of works that saturate each other with meaning and build this living organism that is entangled with the work that I have created for the last room”, says Fàbregas.

He says that everything he does “has to be in the process of change and transformation” and that he sees desire as the engine of his work. But, he qualifies, “always in opposition to risk, the pleasant in opposition to the disturbing or the uncertain, the desire with the sinister. A piece can be appetizing at first sight, but at the same time very disturbing. My art is always a balance between the two.”