OCTAVIO PAZ
from APARENCIA DESNUDA, La obra de Marcel Duchamp:
"El artista no es un hacedor: sus obras no son hechos sino actos." (The artist is not a maker: his works are not products but acts.)
-"todas las cosas manipuladas por el hombre tienen la fatal tendencia a emitir sentido." (-all things manipulated by humans have the fatal tendency to emit meaning.)
-"el fin de la actividad artistica no es la obra sino la libertad. La obra es el camino y nada más." (-the goal of artistic activity is not the Work itself but liberty. The Work is the road and nothing else.)

25.8.10

sides 25 cm

13.8.10



CUBI 20100812 (same structure turned)

30.3.09

23.2.09

SUPERCUBOS


SUPERCUBE MENOR 2009
SUPERCUBE MAYOR 1994

5.1.09



When I started welding in 1993, the cube was the fist forms to explore. Geometry is a language that belongs to whoever wants to use it. No one can possibly pretend to be the inventor of such forms, but somehow those who find joy in exploring geometry belong to the same family. Geometry has laws like a game of chess, and the beauty of the different solutions can be admired by the participants.

7.8.08





mono-stamp on silkscreen

4.10.06


BOXES for Stine

3.10.06


SUPERCUBE 1994 welded iron 81X84X90cm

13.4.06


CUBI 1993 drawing, china ink and brush on paper 70x50cm
In the Kairo Museum there was(1992) an object, something like this from the grave-chamber of Tut-Ankh-Amon. Thin wooden frame, white chalked. No mention of any use or purpose.

3.4.06


SCATOLA I 1995 

3.2.06

20.1.06

THE CUBI SERIES OF SILKSCREEN PRINTS

CUBI 1. silkscreen print and waxcrayon on paper 70x50 cm
SILKSCREEN PRINTS AND WAX CRAYONS


THE CUBI SERIES of 10 silkscreen prints and wax crayon on paper 70x50cm


CUBI C & D, silkscreen and gouache on paper 70x50cm

19.1.06

THE CUBI SERIES
was initiated as plain silkscreen prints, blue and black on white or chamois paper. They were printed in the studio and put aside for some years until the idea to continue the work came up. The simple logic of geometry seemed too evident, something absurd was needed.

Printmaking is a profession with rules. The printer himself is normally a person who loves to see his work reproduced endlessly. The edition is supposed to be signed, numbered and limited to items that are perfectly identical. But after all, the freedom of hand-colouring seems to be accepted. Each print is given a unique attention and a special treatment that lifts it out of the repetitive slavery of larger editions.

18.1.06


MISR 1993, welded iron

17.1.06



CUBI 10. silkscreen and wax-crayon on paper 70x50cm


CUBI 9.silkscreen and wax-crayon on paper 70x50cm


CUBI 8. silkscreen and wax-crayon on paper 70x50cm


CUBI 7.silkscreen and wax-crayon on paper 70x50cm


CUBI 6. silkscreen and wax-crayon on paper 70x50cm


CUBI 5. silkscreen and wax-crayon on paper 70x50cm

CUBI 4. silkscreen and wax-crayon on paper 70x50cm


CUBI 3. silkscreen and wax-crayon on paper 70x50cm


CUBI 2. silkscreen and wax-crayon on paper 70x50cm

CUBI A & B, silkscreen and gouache on paper 70x50cm

16.1.06


REPOS 2000, installation, wood

TWO OPEN HALF-CUBES 1993, welded iron
later painted in blue

15.1.06


SUPERCUBE welded iron