Portugal a Banhos is moulded entirely in fibreglass, shaped as Portugal's mainland. Size, colour and material are similar to prefabricated fibreglass pools marketed all over the country. Nonetheless, this "swimming pool" is a work of art, with no practical use.

Through its strong presence, Portugal a Banhos challenges the viewer by employing similar methods of advertising and commercialisation used by retailers. Placed in a vertical position, supported by a metal structure, it mimics the position of a billboard and the ruthless approach adopted by billboards.

Its iconography, easily recognisable form and familiarity reinforce the work's aim of questioning the methods and purposes of the culture of immediate consumption, which underlies the iconographical exploitation of the collective imagination as a cultural asset. Simultaneously, we are faced with a desirable item - the swimming pool - suggestive and seductive in both form and colour, whilst suffering from a bewildering uselessness. Its enormous scale highlights the absurdity of the growing standardisation of the constructed environment that surrounds us, as well as multiplying shapes and materials that are stripped of all meaning, purpose and particularity.

Furthermore, the swimming pool, as an object that is associated with the home, is conferred a cult-like status of luxury; a luxury that is now both available and ready-made, accessible to many, as though it were simply a household appliance.