Leo Orta through his vocation art, explores the notion of metamorphosis within an ever-changing biosphere. Aware of the urgency to protect biodiversity and respect the Earth, Orta expresses himself masterfully through a thoughtful choice of materials and the energy they give off, tracing the peculiar stages of hybridization processes between humans, animals, and plants.

Taking inspiration from the writings of German biologist and philosopher Andreas Weber - generally focused on the environmental crisis, man's relationship with nature, the need for an economy at the service of the planet and man, the role of science, and so on - Orta denounces this our society intoxicated by productive industries in favor of a necessary and now imperative reconciliation with the Earth. Through a sculptural practice that skillfully blends art and design, Leo Orta invites us to reflect on the interconnectedness of individual and community, exploring the social and psychological dimensions of human existence. What's more, inspired by the teachings of the existentialism of Martin Heidegger, Jean-Paul Sartre and Maurice Merleau-Ponty, in particular by Heidegger’s concept of “being in the world” (Dasein), Orta translates these ideas into his sculptures, generating tangible manifestations of the delicate interaction between the individual and the environment. His works, exploratory in nature, create concrete yet abstract worlds, evoking deep feelings related to the body, memory, and transformation. Each sculpture becomes a space for reflection on man's vulnerability and incessant search for meaning, where forms intertwine and evolve, contract, and expand, soliciting an experience of the events more intimate, sensitive, and deeply emotional. Orta also draws inspiration from other sources, including psychoanalysis, intending to connect to the subconscious and the imaginary to express feelings more spontaneously through his works. He refers to the metaphors of Henry Moore, who defined his monumental art as “an expression of the meaning of life and an exhortation to engage in life,” and to the emotional and sophisticated manifestations of Niki de Saint Phalle. Recently, he has focused on the disturbing work of David Altmejd, appreciating his intuitive relationship with form and the state changes caused by materials, and exploring their expressive potential. In addition to all this, he is also fascinated by the world of industry and factories, from which he draws insights into understanding production cycles from creation to end use, exploring practices of recycling and reuse as alternatives to relentless destruction. Finally, he is inspired by the magnificence of nature, its organic aesthetic, the lush beauty of biodiversity that characterizes it, and its disappearance, which is as rapid as it is gradual and devastating. In light of all this, in an exacerbating climate that seems to threaten the very balance of life, and is increasingly unstable, his sculptures - almost stylized lunar presences - manifest themselves through dense and full-bodied, with chromatic variations ranging from the hues of a particularly thirsty earth to those of the sky, sometimes clear, sometimes-as in this case-crossed by boreal gleams.The result is a profound tension between permanence and dissolution, between erosion and renewal. Pushing beyond the sculptural gesture, Orta seeks a silent confrontation between the work and the viewer: an intimate encounter between two unknown presences, united by a moment of recognition of each other, not necessarily mediated by the material. In this transient cohabitation are intertwined contradictory emotional states of awe and welcome; thus, through these forms metamorphic, his practice is configured as a shifting relationship between permanence and survival, reflecting on the emotional and ecological entanglements that characterize our time.