Sculptural morphologies: form, light and emptiness

This set of sculptural works has been conceived to be integrated organically into a private collection, adapting to a specific architectural space. The project consists of three monumental sculptures that dialogue with each other through form, light and gesture.

In the main room there is a large-scale diptych, formed by two curved sculptures facing each other and made of aluminum and brass. These pieces, developed by the author since 2010, represent abstract rhythms frozen in time. The interaction between curves, planes and voids gives rise to a dynamic play of shadows and reflections, where light strikes and transforms with every change of angle or perspective.

The erosion work on the metal enhances this relationship with light, which not only illuminates the works, but seems to materialize on the surface. In this way, the sculpture becomes a perceptive experience that evolves according to the position of the viewer and the conditions of the environment.

In the inner courtyard, and as the centerpiece of that space, is La Maraña, an aerial piece reminiscent of classical courtyards as the organizing axis of space. This work, begun in 2024, belongs to a series where the author focuses on the concept of spatial drawing, where the volumes are built from intertwined metallic lines, as if it were a three-dimensional calligraphy.

While the diptych models space through plane and mass, La Maraña does so through line and void, proposing a light but intense sculptural reading. Together, these three contemporary sculptural works establish a dialogue between light, sculpture and architecture, creating a sensory experience that evolves with each change of perspective.

These pieces confirm the capacity of contemporary sculpture to transform space into a living artistic experience, where light, emptiness and form coexist in equilibrium.