DEL AIRE

How to shape nothingness? Picasso asked himself when he was commissioned to make a memorial to his friend, the surrealist poet Apollinaire, after his death in 1918. Picasso asked Julio Gonz.lez for help. Result? Mass and volume are replaced by open plan compositions. Vacuum bursts as a new element in sculpture.

Picasso first thought of making a cage, because according to him, the cages shape the air and close it without closing it. “Because there is nothing freer than air in a cage,” he said.

In this project I intend that sculpture becomes a generator of dialogues and perceptions between line, space, color, light and shadow.

Starting from the line as a matrix, I start a plastic experience in which the two-dimensionality of the plane is freed from this two-dimensional kind of servitude to undertake a journey into space. A vibrant and nervous journey that builds structures in which the spectator feels active and builds their own spaces. Visual and conceptual routes full of echoes, perceptual winks, lines of strength and tension, which end up meaning a spatial and sensory visual experience. In addition, the form always generates meanings and therefore semantic results are obtained that can be complex and stimulating.

I explore formal and linguistic questions, far from reducing expressive vocabulary to questions of space, scale, color, surface, movement or rhythm, I want to suggest relationships with architecture, the history of art and the world around me.

They are sculptures that do not have a single point of view, which generate multispaces, which together with the lighting involve the viewer of new and original dimensions in their observation thus completing the work.

They are sculptures worked with spontaneity, with a drawing and accidental stroke,

fleeing from the straight and geometric line, looking for the sense, the lived, and all presented with immediacy and gesturality.

I want my works to appear to be in a state of constant balance. Ability to find their expressiveness in the resolution of spatial rhythmic tensions and balance, translating both intellectual and emotional questions and approaches.

These works are also characterized by apparent lightness, they are painting and drawing in space.

I intend to create a syntax that avoids chaotic result, where constructive and compositional vision is important. The result is a work full of plastic intensity, in subtle and resounding time, from which emerges a visual game of light, shade, space, color and architecture, as well as a poetic charge. These sculptures are a concord of moving and changing perceptions.