Fuentesal Arenillas' work delves into the fields of semiotics and anthropology to structure a type of artwork that is, at the same time, game, totem, archive and event. They draw on the Dadaist tradition and concrete art to define an imaginary in which the everyday, the mundane, the accidental, the superfluous, take on a dimension that is at once play, totem, archive and event. quasi monumental. They have generated a universe of artistic objects deeply marked by physical and thought duality. Because of this, repetition is very important to them: a conversation in two voices, a double reading, double journeys, superimposition of gestures, accumulation of signs; it is the best way to explore an object that does not exist, but that happens.

Among the defining ideas of his work we can mention: the exploration of a drawing volume in which the line becomes solid matter and can be observed from different edges; evolution as a vital event, the mutation of materials, and the deconstruction of the creative process as a story; time as the center of attention, and the observation of patterns of movement linked to closed circuits that refer to routine gestures such as walking from one place to another; the taste for popular and primitive craft traditions in the face of a challenging modernity; the interest for the non finito, that is, by those unfinished and often disposable states of the staging of the canon. This peculiar aesthetic causes each object imagined by them to be an echo of the body, a cell of meaning in which all discussions about the erotic and the mystique of being are stripped of conflict, sexism or folds.

Fuentesal Arenillas' work revolves around a fundamental concept in the world of anthropology, coined by Claude Lévi-Strauss: savage thought. A type of analysis that has not yet been domesticated by reason and allows itself to delve into the deepest mysteries of nature and things without the imperative of offering definite answers; that seeks in the play with signs the most pristine source of truth.

They have been selected for the Scholarship of the Royal Academy of Spain in Rome 2022-2023, their work has been the winner of the call Generaciones 2023 in La Casa Encendida Madrid, they have participated in the Artistic Residency Fundación María José Jove 2022, and have been selected for the VI Premio Cervezas Alhambra de Arte Emergente ARCO (2022), also awarded by the Iniciarte space program in Seville (2015) and the Blueproject Foundation (2018) with a residency that concluded with the exhibition GameShow/PlayShow. They have also participated in different exhibitions such as Replica Shift. Construcción/ Composición at the Museo Patio Herreriano, La vista y el tacto (ca. 1929-30) at the Centro Federico García Lorca or Una grieta en la montaña at the Centro Andaluz de Arte Contemporáneo. Recently they have had important solo exhibitions such as Cubierta brillante, margen delgado, curated by Juan Canela and produced with the support of the Programa de Producción Artística Comunidad de Madrid - DKV at the Sala de Arte Joven, Un acto de balanceo at NORDÉS gallery, Santiago de Compostela, Galicia, or their recent exhibition La danza Mudanza curated by Bea Espejo at the CAAC in Seville. His works are part of important collections, such as, Colección Comunidad de Madrid CA2M, (Spain), Pietro Molina's Collection (Italy), Fundación Banco Sabadell (Spain), Blueproject (Spain), Colección CuldeSac (Spain), Colección DKV (Spain), Fundación Universidad Complutense (c a c) (Spain),
Fundación Universidad Santa Isabel de Hungría (Spain), Fundación Universidad de Huelva (Spain), Fundación Newcastle (Spain), Ayuntamiento Genalguacil (Spain), Fundación Valdearte (Spain), Fundación Cañada Blanch (Spain), Gandía Blasco Collection (Spain), La Escalera Collection (Spain), Fundación María José Juve (Spain).