Untitled I, Untitled XI, and Untitled II, Hands, 2010

Nico Baixas / Gos-com-fuig  

Untitled I, Untitled XI, and Untitled II, Triptych 2010 by Nico Baixas From the Series Chiromorphose Archival Pigment Print on Hahnemuhle fine art paper Overall size: 150 cm x 100 cm W Individual size: Untitled I. (nc-30-S1-0003). Sheet size: 100 x 100cm. Image size: 90 x 90 cm. Edition 1/5 Untitled XI. (52-c-2-S1-0002), and Untitled II. (c-4-S4-0010): Sheet size: 50 H cm x 50 W cm. Image size: 45 H cm x 45 W cm. Edition 1/20 + 1AP Unframed Black & White photography "Chiromorphose" 2010 Nico Baixas / Gos-com-fuig (Photographies by Mara Sanchez-Renero) 

This work explores the sculptural capacities of the hands. Stripping them from their symbolism or the functions for which they are normally used, I explored them like someone examining a foreign body, searching for their limits and pushing them in different directions. To do this, I used opposed sculptural concepts like straight-curved, and simple-complex; searched for the interconnection between fingers, and the balance between distances, and tried to generate geometric shapes and textures. At times, I would find shapes that were like doors opening onto a myriad of new possibilities. Throughout the process, I discovered a world of fingers that transformed reality taking it to another level. It is an abstract development, I didn't try to make the forms resemble known things. Despite this, the results are very suggestive, sometimes they look like architectural constructions or industrial designs, shells, corals, branches, flowers, masks. This effect is produced because many of these real objects are made with the same proportions or mathematical patterns inherent in nature. This is a question that interested me a lot. The fact that the distance of the finger bones coincides with the Fibonacci numbers, related to the golden ratio, which the Greeks and Renaissance considered the ideal of beauty, gives these shapes a special balance and perhaps a divine dimension.

This artwork presents a captivating exploration of human dexterity and communication through hand gestures. It consists of three black-and-white photographic panels. The top two panels feature hands intricately forming symmetrical, circular shapes, reminiscent of symbolic or ritualistic signs. The careful positioning of the fingers suggests a narrative of universality, as if capturing language beyond words. Below, the larger third panel displays an innovative configuration: two hands coming together to create a unique fusion, where fingers interlace to form an unexpected shape. This central image highlights the complexity and expressive potential of the human form. The grayscale palette emphasizes texture and shadow, enhancing the dramatic presence of the hands against a stark, plain background. This piece stands out for its ability to convey meaning and evoke curiosity through minimalistic yet thought-provoking imagery.