Ingravidos

The exhibition ORIGEN (ORIGIN), created especially for CENTROCENTRO, is conceived as a three-part macro-installation. The entire exhibituon alludes to my fervent interest in science and particularly in quantum physics and its intersection with art as a tool for proposing new ways of perceiving our lives.

Collection of exterior artwork with free access by the public

"Vértices de la Vibración" (2009) is an artistic project curated by Rafael Sierra Écija, commissioned by the newspaper El Mundo for the creation of its stand at ARCO 2009. In this proposal I was able to experience for the first time the link between sculptural material and the relationship of the limited space in the stand as an immersive installation between work and public, where the lines of the structures literally burst out from between its walls suggesting a concept of continuous movement and transformation. The sculptures and artist books that made up this invitation to create the El Mundo stand were the first lines of work that emerged from the wall and were risked in a kind of wooden drawings that vibrated in the space with the intervention of the viewer. Some of the works were literally drawn on the walls, duplicating a space in continuous undulation.

The entire sculptural ensemble plays with air currents. It takes the side of lightness and not strength. It adapts to reality, to natural forces. It is not about dominating nature, but about using it, and at the same time, manifesting it, making it visible, making visible the movements of the air, the changes of the invisible. It imposes the presence of transparent energies. It forces us to perceive the winds and their fights. It helps us to think with a little less heaviness, like so many invitations to let ourselves be carried by the will of the wind, to lose ourselves with it in the exquisitely concrete immateriality of space...Climbing, rising towards the sky always means lightening, freeing ourselves from the heaviness and achieve a new status by reaching a new space: The open sky. This relationship between sculpture, the most stable and imperishable of all things created by men, and the wind, which is the most fickle, changing and unstable of all beings that populate the planet, is curious. This relationship between the heavyness of the material and the lightness of the wind, the spirituality of the air and the materiality of the earth, is undoubtedly evocation of that special relationship that sculpture, a poetic tool, seeks with poetry, the relationship of love between iron and the word.

I work the line in space and the void as volume. The spectator who walks through the works ends up being a transformer of their atmospheres and an unbreakable generator of their movement. The observer is the inexorable protagonist in the search for places and their different points of view, turning the work into a vibrant and mutable space. When the pieces leave the workshop and I have the opportunity to observe them with the eyes of others, the public's response sends me a visual image; I see the passerby as the wind that plays the strings of a giant harp that, without much effort, makes the space it occupies vibrate. My pieces are places of reflection, abstract meditations on fragility and balance. Emotions that undoubtedly correspond to man and his vital search, thus, they are nothing without him. The works start from the ground, rise interacting with the space they inhabit, delimiting it, defining it and conclude by resting on the walls in a dome development, emulating architectural shapes and movements. So do their shadows and the shadows of man and thus, I jointly identify their footprints in this ephemeral passage through the earth. For all this to happen, work measures must be created on a human scale and from this, to a monumental one. The man is an identifying piece and covers the piece from the inside with his gaze, but it is the work that surrounds the man and needs its dimension to become a refuge.

The "Barroco Barroco" exhibition at the Ansorena Art Gallery in Madrid is split in two main axes. On the one hand, it presents large-format sculptures in mahogany wood, where the curved shape is the protagonist and generator of spaces, in many cases cupular that They remind us of the Gothic style; a sculpture that also generates shadows and is full of baroque games of folds and folds that contrast with the sharp extremes in which his pieces usually culminate. On the other hand, a small collection of travel notebooks under the title “Transforma”, small pocket-sized visual poems, but with an immense evocative and narrative capacity. Visit Exhibition: https://galeria.ansorena.com/es/exposition/barroco-barroco_163-001

The performance "In 8 Minutes" was born from the research work on the concept of space-time from the study of fundamental physics, interpreted by artistic parameters, which we presented at the Museum of Contemporary Art of Alicante (MACA). This performance has the collaboration of a team made up of the following professionals: Eduardo Aguirre de Cárcer, musician and actor, Amaya Galeote dancer and choreographer, María Jesús Romero and David Paul del Valle, technology, 3D motion capture program, Javier Sánchez Gómez and Eduardo Infante new technologies, Juanjo de Latorre and Javier Botella, cameras and filmmaking. The dancers who perform the performance are: José Luis Sendarrubias, Cesar Louzán Ferrio and Ainhoa ​​Usandizaga. Sculptures by Mar Solís.

"The artist presents us with a sculptural work with a great narrative load, where each piece through the curve and the line, expressive and interdependent elements in her work, presents analogies with respect to the others. And where the shadow is projected without weight nor volume, as a weightless abstraction of his own creation. Tempering the void through materials such as wood or metal, Solís elevates shapes in space that are intuited in movement. Oscillating pieces that multiply to infinity the curved drawing of its morphology. "Fragmented and reconstructed sculptures that evoke the furic curve, broken and assembled at the same time by the force of its movement" - Julieta de Haro.

"Introspección y Fuga" is, in this sense, an interdisciplinary project that experiments with the line and its multiple fluctuations, showing its three elements of helical formation in infinite combinations to generate a perfect symbiosis between space and matter. The sculpture vibrates in the void and the papers cover the walls of the room, imposing their gestural line and expressive force from the subtle harmony between rotundity and delicacy.

Fúrico is an interdisciplinary artistic project that explores the tension and interaction between order and chaos, norm and chance, from the human sphere to the visible and non-visible universe. Throughout the exhibition, the rooms will become observation points that invite us to review, from sculpture, drawing, video and performance, our own human condition (as a biological, social, emotional and critical being) and our ability to decipher and interpret a universe whose limits always seem to evade us.

"ESPACIO.TIEMPO" (Space. Time) is a project that is carried out thanks to the granting of Grants for Contemporary Creation and National and International Mobility 2019 from the Madrid City Council. The “ESPACIO.TIEMPO” project was born from research on the interaction between art and science, specifically that pertaining to astrophysics and quantum mechanics. Within this connection, I am interested in questions that deal with the condition of the human being within the universe, the limits of scientific knowledge in its effort to try to decipher it, and the role of artistic practice as a creator of metaphors that, precisely through experiences Sensory, they invite us to reflect on our perception of the reality of things. In contrast to the experimental evolution of science, which relies heavily on the creation of instruments and devices that compensate for the cognitive obstacles of human beings, the “ESPACIO.TIEMPO” project proposes highlighting these limits, inviting us to assume them and, In the manner of a circumstantial experiment or an exception in our daily lives, recovering our imperfect nature to once again understand the world according to our own physical and temporal scale.

Exhibition initially held in the Palacio de San Nicolás in Bilbao in 2022, it traveled in September 2022 to the two rooms of the Villanueva Pavilion of the Royal Botanical Garden of Madrid. For this occasion, the performance RIPPLE: Expansive Wave was reproduced in video format. Project curated by Alfonso de la Torre produced with funds from the BBVA Collection. Edited by BITART. RIPPLE. Expansive Wave is a performance that vitally delves into the concept of duality between matter and space, event and expansion; and proposes the wave effect as vibrational matter that generates action. It is a way of representing the physical states of matter, including the human body as resonant matter. The RIPPLE project. Expansive wave, vitally delves into the relationship between matter, energy and space, within the implosion-explosion duality: internal consciousness and material expansion. At a formal level, the project consists of three sculptural works arranged in space with an installation format and choreographic experimentation carried out by performers. The interaction between performers and objects will fluctuate between complementarity and dissonance, in spatial chords in vibration. The project is built from the combination of three elements, three independent and different fragments from each other, but similar in all the pieces. Therefore, these are no longer sculptural objects, but rather a moment, a particular experience within the innumerable possibilities that could be drawn in the space manipulated by the performers. The drawings that experience the work's helical line in space and its fluctuations show the symbiotic relationship of deep breathing between space and matter. The result of this project was shown in a real-time performative performance, lasting approximately 20 minutes, and a video of the performative execution was also made. The work RIPPLE. Expansive wave was performed by the artists María Jesús Romero, Inés Narváez and José Luis Sendarrubias. Cosmic light horizon is another way of naming the particle horizon or cosmological horizon in physics terms. The work seeks the emotional and spiritual relationship between art and science, presenting a sculptural interpretation based on the cosmic particle horizon. It is a piece made of mahogany wood in a closed and circular formation of curved and sharp lines, visually impractical, and, as its name defines in cosmology, it is the observable limit of the universe. This piece is an interpretation of the observable and non-observable regions of an intuitive chaos, in a physical simile of a sphere breaking and seeking transformation towards a single line of circular inertia that aims to develop in its maximum deployment until leaving a latent trace.

The event horizon is a surface that we imagine is spherical in shape that surrounds a black hole, it refers to the border of space-time. To escape its attraction we should equal the speed of light, therefore, nothing inside it can escape due to the attraction of its intense gravitational field. Starting from this concept, the Horizonte de Sucesos exhibition poses between sculpture, drawing and photography a point of no return, a hypothetical border where the viewer is situated at a point of no return observing metaphorical events inside. Visit the Web of the "The event horizon is a surface that we imagine to be spherical in shape that surrounds a black hole, it refers to the border of space-time. To escape its attraction we should equalize the speed of light, for example Therefore, nothing inside it can escape due to the attraction of its intense gravitational field. From this concept, the Horizonte de Sucesos exhibition proposes a point of no return between sculpture, drawing and photography, a hypothetical border where the viewer is situated at a point of no return observing metaphorical events inside.

"The works manifest an interpretative complicity with the viewer and promote a duality where both the ideas of the real (which in art is always a form of abstraction) and the unrecognizable (which in art is always another form of reality) fit, betting on contemplative spirituality and calligraphic subtleties, proposing visual desires and intellectual parameters that also pay tribute to the strength of the human being and his ability to overcome all crises." - Ángel Antonio Rodriguez.