"In Carretéis no espaço (Spools in Space), [...] the objects break out of the boundaries of the work, lean or are sh redded against the borderlines of demarcation of the design. These engravings are essential to lberê's print work, especially because of the refined technical complexity of its expression. This is technique with a personal twist, a thing Iberê considered essential [...].
The way in which these spools move through the somber spaces of the designs, as if wanting to grow, dilate, become vast, until they have broken through all circumscription, is mediated by the velvety treatment of the engraved surfaces. As in his painting, they extrapolate any drawing, they concentrate subtly maculate planes; they conquer space by means of dense surfaces of materials which undulate under the light. These engravings are elaborated among the various stages that structure them. By obscuring parts, and diluting tonalities with the French lavis technique and opening up sparse areas of light, Iberê presents engravings shrouded in the same enigmatic ambiance as his still lifes of the preceding decade. These, however, because of their technical refinement, belong to his maturity (as he himself stated)."
Mônica Zielinsky, Iberê Camargo: catálogo raisonné (São Paulo: Cosac Naify, 2006), 89-90.