Site Search

Get Luxury News by Email

Live the Good Life

Categories more

Sections

Other

The Spanish artist Jorge Palacios will install a public sculpture in a privileged space in Manhattan

Be the first to review this item!

Published
02/19/2015 by

As of March 3 a large-scale sculpture by the Spanish artist Jorge Palacios will occupy a privileged space in Manhattan’s mythical Spring Street alongside the iconic Trump SoHo building. The installation coincides with the opening of the artist’s latest solo exhibition in New York, organized by the prestigious Fridman Gallery.

Palacios’s work has attracted the interest of such legendary names in architecture as New York-based Peter Marino, Hernández de la Garza from Mexico and Eric Owen Moss from California. The artist has brought his sculptural works to public spaces in capital cities and cities of cultural heritage all over the world and has been described in art publications as one of the most important emerging artists. Following in the footsteps of such masters as Eduardo Chillida or, more recently, Jaume Plensa, Jorge Palacios (born 1979 in Madrid) has joined the list of representatives of Spanish art on the international stage.

A large-scale sculpture in teak, his project for the city of New York serves to enrich the dialogue between art and architecture, integrating itself into an environment dominated by large towers of glass and steel. Entitled Sketch in the Air, this impressive work of public art is being presented by the renowned Fridman Gallery, which is based in the city of skyscrapers.
The presentation of the public sculpture coincides with a major solo exhibition of the Spanish artist’s work under the title Convergences. The exhibition, the result of a collaboration with the celebrated New York architects Steven Harris + Rees Roberts, will feature some of the Madrid-born artist’s most recent works, presented here for the first time.

Anatxu Zabalbeascoa, the architecture critic and curator, writes: «His work speaks to the brain through touch and by the relation it establishes with space and time. However, his sculptures also speak to us through the eye. They are touched by sight. (…) Closer to Barbara Hepworth’s, Noguchi’s or Henry Moore’s line than to that of any other modern master, Palacios seeks for the wood to speak to him, he challenges it. He, like Barbara Hepworth, can perforate his forms, but unlike the British sculptress, he seldom unfolds, intersects or spreads them. Even when he perforates and approaches the interior Palacios always chooses subtraction. His search aims at the essence of the volume.

The sculptures are «irreducible and essential. But also contained, geometrically complex, singular. It is that concise form that confers specificity, character, humanity. It is not the sum of parts, but the reduction of an idea until it lacks parts, condensed, a single piece. Jorge Palacios’s sculpture is of eloquent gesture. In the singular: one only gesture per piece.

Palacios’s work explores abstract forms to test the limits of material, line and restrained expression. A balance is established between the sculpted material and sculpted air, as the works explore the dichotomy between soundness and lightness. The shapes reveal a permanent tension between line and curve. The title of the exhibition is a reference to the different convergences between lines and planes, which reveal to us the path taken by the artist through the realms of geometric and organic abstraction.

http://www.jorgepalacios.us/

Comments