Masters of Velocity is rich in hybrids and ontologically unstable forms (…). Formlessness, in [Musa paradisiaca’s] approach, is not category but a task — and the work of the informe is never done (…). 
In order to find an obvious precedent for the work of Musa paradisiaca, one would have to look into clay animation and the conventions of plasticity it champions. Here distortion signals a surplus rather than a lack (…). Not confined to actual physicality, the pastel-coloured blobs in the gallery also have the haunting quality of folk tales figures, in which household appliances and familiar objects typically represent social forces made into human-like form.

Ana Teixeira Pinto