I believe that from the first Fissures to the current Massages there is a core of concerns that is maintained and whose development is constant. A continuous research over time that results in unique solutions. For me, the Massages are a step further in Idoia’s process of transcending frontality, a step in which her practice aims for a haptic feeling that links her to artists such as Lygia Clark or Helio Oiticica. With Idoia, in her Massages, we see through the skin and through the ear, we touch with the eye, we produce images directly inward. She does not refuse to produce images, but she does renounce to produce clear, directed, located, separate and distinct images. Sensibility and thought are worked as a web of relations, blurring the distinction established by our western conception of the functioning of the senses and logic, between the res extensa of the body and the res cogita of the mind. In the Massages, the distance between the audience and Idoia finally tends to blur. Idoia’s commitment as an artist grows exponentially from the Fissures to the Massages. In the first ones, a strong impulse wins the game and there is no negotiation with the world. As her career progresses and her research develops, first in the Mantras, and even more in the Massages, Idoia’s agency grows and along with it the will to transform the world from the basics; to expand perception and thus redistribute the territories given to materiality, thought and experience. Text Massage (2017) seeks to touch with words, to wrap you in them like a mantle and to move you. In Vision Massage (2019) the images and movements are created in the body of the audience, they are produced in the inner movement of the sensations of the person receiving the massage. The body of the performer and the body of the spectator fade their boundaries as separate and distinct elements, both participating in the same sensorium, also blurring the supposedly active function of the performer and the supposedly passive function of the audience. The eye is treated as a tactile surface while images are created through the ear by listening. Everything is fluid and indistinct, sensorial and changing. In Scanner Massage (2023), the extremes touch each other in the R, from radical to romantic, rare, radiant. The R of vibration, of rose, of laughter. In Idoia’s words, “the stroke of the R is a symbol, a sign, but also a drawing that touches your face”. Idoia creates processing machines, what Karen Barad calls intra-actions, processing machines that are in themselves choreographic and whose aim is to help us touch by thinking and thus open up, in the words of Marie Bardet, a breach in the Cartesian monument.