the animal becomes very different from my initial project. It’s all about experimenting, trying out parts and studying their movements. When I developed the sea stars, for instance, I did not know that I would create the movement by using these parts. See, they are springs, metal parts, sponges and their engine belongs to some old sewing machines. I found one and decided to use it, but there was no project. I neither work with sketches nor with miniature model: I immediately start by building the animal, which generally occurs spontaneously, then I modify it as
least as possible, just to improve it, adding a reinforcement or protection and other systems that make movement more organic. Barbara Sansone: Does the same applies for the aesthetics? RaĂšl Martinez: Yes, I usually polish the pieces or treat them with acids to obtain rust, so that they resemble the image I have in mind. I also like to leave them somewhat incomplete to let people play with their imagination and catch sight of their mechanisms and articulated joints, thus making the most of the movement.
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