Daniel Fiorda 's sculpture breaks up the logic of representation characteristic of traditional Western-art sculpture. His works are made with discarded metals assembled in a complex and busy structure that recalls a Neo-baroque approach to art. The sculpture's material becomes a morphological generator of its figurative shape. As an archeologist, Fiorda captures the "presence" and the elusive meaning of each fragment, - a glaring coin made of copper, a motor screw, part of a car chassis, discarded remnants of the industrial world.
Fiorda creates a sort of phenomenological machinery with an intrinsic strength; a sort of anthropomorphic figure possessed by a radical ethos . The viewer encounters thick masses of curvilinear metal shapes and centrifugal forces, with sharp ends as weapons or extremities as legs expanding over the space. They articulate memories of an ancestral body, and evoke biological entities, -an insect, a bird, a fish, - or a human body in a critical process.
In Fiorda's sculptures, mechanical heroes, warriors or animals are in a continuous metamorphosis. Their contorted bodies seem to perform a drastic and abrupt dance, as it is in birth or in death. For these figures, it is a moment of transcendental transition. The corpses are tangled and articulated in sudden zigzags. The massive use of the torch has completely melted their bodies,- fragments of copper, iron or aluminum,- and has converted them into a compact and a prosthetic mass.

Over the sculpture's surface, Fiorda creates a new simulacrum. He heats the sheet of metal over the surface with a torch and softens it. Then with different hammers, he moulds it, bends it, or shapes it into a “skin” or a sort of malleable membrane underneath which one can perceive details of “nerves”, “muscles” and “ bones”. It becomes a metal "skin", a soft metal cover with relief and irregularities that recreates images of a human or an animal body.

Each fragment forms an intricate and tactile vision, full of dramatic resonance. A "horror vacui" seems to guide the complex and busy construction of each piece. Multi-layered disparate metal parts have been put together creating a logic of excess. An overloaded structure emerges organized in a Baroque composition.

Ultimately, the artist creates a robotic body that seems to be entrapped in its own structure. In collecting and recycling already useless objects of a recent past and assembling them into a "new brand" structure, Fiorda links past and present, old and new, with a subtle irony and criticism. The works become a critical mirror for our post-Industrial society and its polluting daily activity.

Fiorda's works have found a key place in the great currents of Contemporary sculpture.