Seeing the great potential of sources and medias that lie in fine arts and sculpture, Guinchi wants to return to a time when the talent and technique of the artist were valued as much as the concept of his work. For this he draws on an example: Miguel Angel Buanarroti with his "David". Four meters of cut and polished white marble with such perfection that do not need concepts to support his work since the technique was able to immortalize him in art history. That's why the Contemporary Renaissance is the vanguard that preserves the talent of the artist.

Based on figurative sculpture to support the need for skill in the creating process makes an exclusion from artists who formulated a concept over the plastic development of the work. It is then a way to differentiate between "composers and performers". The cutting edge is proposed with the introduction of this work which seeks for the legendary artist who's ideas, concepts, contexts and excellent manual dexterity will fill again our world with art.
The work is supported by the criticism of the way we see human bodies, where cosmetic surgeries and generally unnatural transformation methods fill our cities. With dissatisfaction for being different from how we are born, with a beauty cannon imposed by media who devalues the beauty between races, trying to sell other types of "perfection".
The start of the millennium reflects a time where young artists are hungry for art, with sociocultural advantages that set and propose a new state of art in the world -

The Contemporary Renaissance.
Contemporary Renaissance materials... excel and merge stone, cast and wrought iron, wood and vegetation. This with the urge to create a balance between the coarse of a rusty hand forged metal and subtlety of a polished oak covered with lichen or moss like vegetation generating a sense of seniority in the work. This will build an interaction with the viewer by setting the contrast between roughness and the fine details of a Guinchi.