Construcciones a escala real 2.0 is one of the most conceptual works of Furió. It is a reflection on the notions of communication and lack of communication on a personal as well as on a social scale. The starting point for the piece is the tension that lack of communication generates in contemporary society, be it in the work arena, or in the personal one. The rhythms of production and consumption in late capitalist society create such an acceleration in the rhythm of life that the personal physical contact between people is substituted by virtual contact. Our intimacy and our everyday are hereby increasingly fictionalised.

The video indulges in a formal game with the montage and the layering of shots, creating formal metaphors that give voice to the suffocation and alienation which we end up with after going through the processes of adaptation to the rules of the game imposed by our technological society. The space that surrounds us becomes thus both suffocating and fragile.

Furió is one of the most important artists from the generation of Spanish artists who, in the mid-1990s, and still with scarce resources, start working in the field of technological art. Works like Geografías or Tránsitos are essential in any anthology of the period. Her contribution to the current context of Spanish video art is an enormous bravery, as she has continued working within a minority field, but on strong conceptual grounds. Furió’s understanding of the videographic image is as a combatant medium (anti-television and anti-capitalist). She stays clear of the mainstream of video artists who pay more attention to the spectacle and to cosmetic superficiality.