It is not simple to divert the work of Pablo Boneu (1969) from his own life. In this sense, he is a contemporary artist who uses different genres and expressive media, and is not limited to exposing his finished products, but is constantly put in doubt. However, unlike most avant-garde artists, his intention in the creation process, as a life experience, is intimately linked with the obsession to present a finished product, consisting of its implementation. So much so, that two critical impulses can be compatible in his work: on the one hand, the idea of production as a repetition in series of the same object and, on the other hand, the idea of a traditional work of art as a craft fetish. The tension thus originated in this double criticism, is visible in all his productions, and develops what one might call, more than a style, a Boneu world, a way of making one’s own art and being an artist. Far beyond filming, drawing or writing, Boneu invents structures. A very peculiar kind of structures, which are, at the same time, both closed and open. Closed, because they have a firm and open internal coherence, because they can proliferate indefinitely. It would not be excessive to affirm that Boneu’s works are governed by the aspiration to an endless, mixed and assimilated to things, to turn with them to another still unknown world.