In Genius Loci is present the evolution of a sculptural proposal that it does not replace competition and the principles of architecture and art. On the contrary, the work draws on the qualities of both disciplines and concepts to find that common place of sensitivity and rationality, with the certain intention to build an identity between the artist and work in correlation with multiple ways to observe, reflect and living spaces from an intellectual and formal process, through a respectful proximity to the protagonists of a cultural ecosystem, which are made referents and teachers for their artistic proposal. The spirit of the place as defined by the Roman concept of the sculptural work of Mejia, talks about the individual's interaction with the social, -temporales and physical space that surround it - never the subject exists or survives without any alteration or isolated by the landscape or object. Thus in "The shadow color and" City belly ", the texts of sample content that presents plectrum Contemporary Art Space is brought into consideration individual and collective reciprocity observer as challenged by each work agent, a sort of live game between the boundaries of self and other, objects among us, those who set themselves up as sculptural presences intervening space with its own formal characteristics of high aesthetic refinement and invoice. Each color on the surfaces break, adjacent spatial horizons, edges, gaps filled, relationships of the high shadow on the real plane by architectural plains of visible geometries, which have become the invisible architecture of a landscape that has cast its rural and urban boundaries, raise our ability to perceive to attend an imminent transformation of the subject as a mirror of their own certainty in their intimate and everyday living, to the uncertainty of the collective progress of works of art acts as a signifier of meaning and new vistas of reflection on the human. Liliana Hernández Obando