"We Are Really Free?" fits into the broader artistic cycle dedicated to 'waiting,' assuming a unique connotation within this theme. In its portrayal of a man partially engulfed in the wall, the work reflects on the implicit waiting in the human condition: the wait for liberation. This form of waiting is internal, often unexpressed, a constant tension between the desire to express one's individuality and the constraints that society places on us.
In this context, waiting becomes synonymous with hope and struggle. The man in the sculpture is physically confined, waiting for a freedom that seems unattainable, yet the hand on his heart symbolizes an inner refusal to accept this limitation, a constant yearning for self-liberation, for one's desires and aspirations. This 'waiting' is not passive but active and full of potential, as it suggests an internal resistance, a strength that persists despite external pressures.
Therefore, while the other works in the cycle explore various facets of waiting, "Are We Really Free?" focuses on the tension between restriction and liberation, a universal and timeless theme. The sculpture emphasizes that, even within our physical, social, or psychological bounds, there persists the expectation of a future in which we are capable of fully expressing our true nature, free from the chains that have been imposed on us or that we have imposed on ourselves.
