A Concrete Movement (For George Floyd), a sculpture made in part from a vinyl record manipulated into an abstract shape, is part of a series begun in 2008 and influenced by a specific series of sculptural work by Brazilian conceptual artist Lygia Clark titled "Bichos". Clark's series dates from the 1960's and consists of hinged metal that could be manipulated by the viewer. The visual form of Clark's work influences Cárcamo's vinyl record pieces. The title A Concrete Movement...alludes to the Concrete Art movement of which Clark was a leading figure while also referencing "movements" around social justice. and in a way I see this as a kind of homage to her work and I make reference to it in the title of the series "A Concrete Movement".
The white vinyl of this work is a recent addition to the series, which originally only used black vinyl records. Cárcamo's work reflects an intense focus and engagement with both formalist and process-driven concerns: He creates a holder to hold the flat records while bending them with a heat gun, a delicate process that requires achieving precisely the correct temperature for the record to bend but not break. Cárcamo then manipulates them until they reach their completed sculptural forms, appearing, usually presented on plinths, as finished objects of a polished aesthetic beauty.