He sculptor español Jorge Palacios explores the limits of language through the laws of physics in a new exhibition in NYin which he tests the perception and the reason of the spectators to invite them to reflect.
Palacios (Madrid, 1979), which has been established in the Big Apple for nine years, will show 14 sculptures in the Big Apple until next Saturday. Seizan gallery Gallery, most of them in wood and others in a rigid and resistant material called “cry“, on which he is focused and with whom he declares himself “in love.”
Abstract concepts such as inertia, equilibriumgravity, speed or “the rotund” are some “cognitive constructs” that take shape in his pieces, with soft and organic curvatures that evoke the morphologies of nature and invite us to “empathize,” he explains.
For example, play with perception in “Anamorphosis”, a wooden panel with a convex and a concave basin that are difficult to see if viewed from the front, and in “Wave Magnitude”, from which a familiar domed silhouette emerges.
“The perception makes a joke: you have a feeling, that feeling is a intuitionand when it contrasts with what reason tells you is when you reflect,” says the artist, who has recovered some works from the milestone that was their presentation at the Noguchi Museum (NY), in 2018.
In line with this perceptive joke, he recalls an anecdote about his work ‘Flowing drop’ at the Noguchi, a “ebony drop“inspired by the longest experiment in history – from 1927 to the present – in which drops of tar are formed that take years to fall due to their high goo.
And viewer He told him that “he was waiting for the drop to finish falling”, something evidently impossible in the case of wood: “We had broken the line between the intuition and the reason,” he comments with satisfaction.
Simplify to convey better
The work ‘Lo rotundo’, on the other hand, is an example of Palacios’ new way of sculptural work with the material “cry“, of Porcelanosa: It is a white piece of compact and small size, on a white pedestal and background, which expresses a “sense of monumentality.”
He assures that many were hesitant due to his inclination towards this “anti-vandal” material and typical for building facades, but “the response among the collectors is being very important”; furthermore, the maintenance It is minimal compared to that of wood.
“It is allowing me to convey in a way that I had not been able to until now: (…) the questions no longer revolve around how it is built, you focus the gaze of the viewer in the shadows or the volume,” adds the artist, who refuses to talk about the type of wood or the weight of a work.
In this context, Palacios assures that after 24 years of career “he had to simplify in order to make the viewer focus more on the idea behind of the work, which is what an artist intends”.
He sculptor claims to have found the equilibrium enter here exhibition in museums, such as the Noguchi or the Würth (La Rioja), which give him recognition, and in galleriesfocused on collecting and opening the door to financing for new projects.
Settled in the city, Palacios says that he has moved his studio from Chelsea to a skyscraper in Brooklynfrom where he reflects and works with his team that produces the works in Spain with the help of “robots”, also manufactured by himself.
Without wanting to go into details, he anticipates that there are “powerful” projects coming up and that he is preparing two large-scale outdoor pieces for two. collectors.
2024-03-05 16:54:00
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