Traditional sculpture is defined as a continuous three-dimensional mass in space, while modern sculpture, such as Moore's works, incorporates light and space, like Alexander Calder's mobile sculptures that are essential and interactive. Mobiles are abstract constructions with movable parts first described by Marcel Duchamp and later developed by Calder, using minimal materials for dynamic compositions. Through interaction with air, mobiles constantly change their shape, emphasising their liveliness and dependence on the environment. In the context of contemporary sculpture, mobiles represent a new paradigm by combining stable elements with movable parts, creating dynamic interaction with the viewer. Their transparency and fluidity contrast with the monumentality of traditional sculptures, illustrated by examples like Christo's installations with soft fabrics achieving monumental effects. Mobiles connect space, light, and form through their movements and visual effects, offering a new aesthetics distinct from classical monuments or monumental sculptures. Although not directly addressed in this work, cybernetic art shares the idea of interaction and dynamics with mobile sculpture, conveying aesthetics through advanced technology and sensors. Through its movement and reaction to the environment, cybernetic sculpture continues to evolve the concepts of kinetic art, whose history extends from Duchamp's works to contemporary experiments with light and sound. Overall, mobile sculpture as the theme of this dissertation explores various dimensions of sculptural expression, emphasizing interactivity, dynamism, and a new aesthetics different from traditional forms of sculpture.