On a certain occasion I was asked what my preferred flower was: “Those that my wife cultivates”, was my answer.

I always associate the image or a flower with its scent. Perhaps in my answer I associated the odor or women as the main generator or perfumes.

The critical irony is often greatly repeated that the first man who compared women to a rose was a poet, the second an imbecile.

With animals the male vary more in their odor than the males. To define a male with a single image and a single odor is one or the manifestations of stupidity.

In the realm of flowers my sensibility acts more through image than it does scent. The odors that I have more affinity to are: herbs, trees, mosses, mushrooms, organic transformations that produce humus. One or the ways or catalyzing this sensibility is when, with my wife, we say: “The woods already smell or mushrooms”. For us, it is the olfactive and visual plenitude. We can smell and also see how detailed the landscape is in our harvestings. I have handled vegetable matter all my life, which is equivalent to saying my five senses have acted harmonically.

There are perceptions that can only be deduced by touch, others by sight. All my work has an opaque sonority. I’m bothered by emptiness, it suggests falsity to me. And often I have the imperious need to taste the raw material. It is a more visceral way or sensing the aroma.

Bamboo is a gramineous grass like that or corn, rice and wheat. I like the odor of straw. Of flour kneaded with water and freshly baked bread. I’d like my sculptures to have the perfume of bakeries and their form suggest all the marvels with their corresponding odors so as to go on desiring our daily bread.

Moisés Villèlia