Eduardo Guelfenbein's art has always been dominated by the commanding presence of the figure. Close to a free narrative figuration which represents a South American expression, an imprint of energy of speed and movement, he constructed certain of the latter works in free of form, leaving the work to express itself, exploding the outlines of faces and bodies, favoring gesture and color. Waves in vibrant colors create shadows and in a picture as "Peopled" it is practically impossible to decipher the puzzle that mixes the faces and the bodies in colored whirls. Some suggestive signs arise such as an eye, or a profile inseparable from a movement that runs, encompassing the entire canvas. This fluidity, that gives the title to the exposition, characterizes perfectly the latter animated work of a volcanic spirit close of the primordial and veiled force that presided Creation. Here, Guelfenbein finds the way of an "almost abstraction", whirling, lively, that comes close to European pictorial experiences such as Cobra, and particularly of Lindstrom (not exactly Cobra), of which the research corresponded to the exploration of the basic energies translated by the usage of the bold colors and the "sculpture" of pictorial matter.