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A freestanding silver sculpture shows the Matl workshop working in the round, carrying its dense, baroque manner off the body and into a sculptural object. The form sits alongside the figural and religious work that made up a substantial part of the taller's output.
Matilde Poulat came to silver from painting, she had studied at the San Carlos Academy and taught art before turning to metal, and her workshop produced sculptural and religious pieces as readily as jewelry, some hundred different religious objects by Ricardo Salas's count (Morrill, p. 216). The baroque repoussé surfaces that defined the shop's jewelry carried into these three-dimensional works (Morrill, p. 83).
The "Matl" mark, introduced in 1934, belonged to the post-Revolution search for a Mexican aesthetic rooted in folk and Pre-Conquest sources (Morrill, p. 216). Sculptural Matl objects stand apart from the workshop's far more common jewelry.
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