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The most direct rules of inanimate erotics are first that the object be becoming flesh, and second exemplifying the curve of inside into out, curving exterior into insides, an expression of explicit vulnerability distinct to the anthropomorphic.
Soto has always loved the curves and the fleshy fabric, but the transitional state of the objects isn't not so much a becoming-subject of the abject, but instead a faint pubescence of gender, objects just arriving at a split, a fork budding a semblance of female or male possibility, blushing blues and corpulent pinks.
See too: Torbjørn Rødland at Henie-Onstad Kunstsenter, Lucy Skaer at Murray Guy, Katja Novitskova at Kunsthalle Lissabon
