No title, 1988
Sculpture : iron · 200 x 92 x 55 cm 78.7 x 36.2 x 21.7 inch
$11,669
11 669 $US
One of the last works available by this artist
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Shipped from: Spain
Delivery to: United States , $ 583
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Verified Reviews : 9.6/10
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About the artwork
Type
Sculpture : Unique artwork
Condition
Artwork sold in perfect condition
Authenticity
Sold with certificate of Authenticity from the gallery
Invoice from the gallery
Signature
Not Signed
Technique & Support
iron , without pedestal
Dimensions ( cm • inch )
200 x 92 x 55 cm 78.7 x 36.2 x 21.7 inch Height x Width x Depth
Sold by
Art gallery
Credentials
Vetted seller since 2016
Discount
This seller offers discount when you purchase multiple artworks.
Description
Work on sculpture, I introduced polychromy as a way to add more epidermal information about the models represented. I polychrome them with egg paint, egg yolk mix as a binder, with pigment and water as a solvent, which I prepare myself. It is a traditional technique of painting sculpture, and painting on wood, which results in a watercolor painting with relief, which makes the step between work with volume and the pictorial take place in a subtle way, without leaps and bounds. .
Within the sculpture also, I have been introduced in the wood carving, of lime (soft, without knots). Direct carving, without clay model and, like the rest, direct from the natural one. One of these polychrome carvings gave me the Vila Casas Sculpture Foundation award in 2012.
Within the sculpture also, I have been introduced in the wood carving, of lime (soft, without knots). Direct carving, without clay model and, like the rest, direct from the natural one. One of these polychrome carvings gave me the Vila Casas Sculpture Foundation award in 2012.
Presentation
Since 1977, I have always had a space in which I could continuously develop my passion, which was initially for painting. Later I did fine arts at the Sant Jordi Faculty, at the University of Barcelona, where I graduated in 1985 with a degree in sculpture.
Immediately, I went into the figurative sculpture of iron with an iron plate, which I did until I got a grant from Delfina Studios, for which I could enjoy a year in London and where I worked between 1989-90.
It is in London that I did the first work of the natural thing and gave it by finished work, bypassing me all the norms, that locally, we understand here are of contemporary art; and where I started to work the mud, which by ductility led me to La Bisbal, and has been with me until now.Continuing my work at La Bisbal, I began to take drawing classes that, with a certain degree of continuity, I have been doing, both for my financial aid and for concepts applied to my work from different perspectives. .
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