I’ve been trying to break the limits of sculpture for 17 years. My material is steel. I use plates of different calibers that I fold as if they were paper. I have discovered the nobility, the malleability of this rigid and demanding industrial material that helps me build delicate shapes inspired in nature or geometry. With it, I have managed to emulate the flapping of a butterfly’s wings and the fragile layers of a seashell.
I am interested in suggesting the tension between the subject matter, the material and the technique I use. That which is organic in opposition to what is industrial. The feminine opposite the masculine. The flexible opposite the rigid. Dynamism opposite that which is static. And to achieve, from that tension, harmony, beauty and intimacy.
My work comes from observation. I explore the volume and movement of the shapes in nature and geometry through cardboard. I work on the cuts and play with them, creating layers, until I structure a model. Then comes the direct work with metal. The selection of plates and the cast. And, together with technicians in metallurgy, the folding of steel out of strength and technique. There is no assembly or bolts in my work: it is pure welding.
No two sculptures are alike. Each piece is unique. They have multiple faces and their arrangement depends on who installs them. I am excited by people being a part of my work. Recently, I have been making wall pieces, an idea that I've been investigating and developing.
I dream of creating functional sculpture, of making sculpture an extension of architecture. I imagine a theme park based on my work. I think of monumental sculptures made by me in cities’ landmark spots that not only embellish them but that also become meeting places of reference.
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