ANTONIO DÍAZ GARCÍA - ESCULTURAS

Page 47 “ La semilla ” (The seed, 2010). Solid iron. Melis pine stand. 163 x 50 x 50 cm. taken the form of a seed to regenerate itself and remake itself, like a recapitulation. AD allows himself to take liberties from the tower of his skill as he advances in his complicit relationship with the inexorable metal, something manifest in the ingots’ fanciful twists and turns that shape the outline of his icons. Page 49 “ Buscando caminos ” (Searching for paths, 2010). Solid iron. Melis pine stand. 180 x 60 x 70 cm. The collection continues with structures that are ever more committed, even more motley in their form, playing with plain and baroque, with essence and exterior, with appearance and objectivity; a game of poses and challenges that rebukes conformity in a kind of expressive, even mordant, bravery, as complex on its first reading as it is simple in its outcome. Accurate in its aim, it evokes unease in those who ignore it and a shared worry in those who understand it. There is a thread that runs throughout this story, an emotional and diachronic link that encourages us to explore emotional landscapes where all forms and colour disappear to end up in a sea of reflection and existential calm. AD’s work follows the trail of a robustly expressive effervescence, causing new readings of that which most matters, the very essence of human feeling, the most irrepressible emotions. He is creator and creation simultaneously, for he evolves as his sculpture does, and he is more AD than ever, because he had never let himself feel that way before. It is now, along this new path he has taken – although never forgotten – that the sculptor advances in the identification of everything that has contributed to his personal development: his origins, his own life, his wanderings, his expectations. He slips beneath the skin of his works as if to breathe into them the air that they need to inflate their inert metal lungs. A collection of loose pages full of stories that have shapes a character and a mood. A cradle where the artist rocks his desires and feelings. Page 50 “ Cuna de sentires ” (Cradle of feelings, 2010). Solid iron. Melis pine stand. 155 x 50 x 35 cm. Page 52-53 “ La expansión ” (Expansion, 2010). Solid iron. Oak and iron stand. 127 x 120 x 90 cm. Impeccable in its outline, and balanced in its musical cadence, this work represents the search for an understanding between the human and the divine, between what is tangible and intangible, between hopes and intentions. Subtle in its installation, pretentious in its intentions, this is a piece that calls for enjoyment in its contemplation, dragging with it any remains of attachment to the material in order to propose a perspective that is different than usual. It has an interesting alternation of sections – square and rounded – that seem to rival each other, leading a metaphorical ascent to heights where only spirituality reigns. The curious sonority of the piece, recalling the reverberating sounds of a bell, adds a mystical touch to the sculpture. Page 54 “ La espiritualidad: una búsqueda ” (Spirituality: A Search, 2010). Solid iron. Melis pine stand. 127 x 120 x 90cm. Unfolding folds, curling loops, threading through, undulating, weaving to his will, AD’s hand becomes more and more skilled as it enters into a kind of mechanical resonance with the noble savage that it provokes, forces and incites to react. The material transforms, contorts, shouts, groans, mutates, following a spell governed by his hands, which are harsh but attentive, inexorable but kindly. As a result of all this, the piece grows, climbs up over itself in an enthusiastic burst of folds, compliances and compliments. The verticality of this recreation brings to mind Hindu deities that symbolise resurgence or the transmutation between the corporeal and the spiritual, a recurring leitmotiv in the sculptor’s work. Page 61 “ El ascenso ” (The Ascent, 2010). Solid iron. Iron stand. 145 x 50 x 50 cm. One of the main recurrent themes in the works of the tenacious AD is the representation of the forces of nature and their various manifestations, suggesting revelatory similarities with religion and the different doctrines that channel morality in an incessant exploration of human capacity and its eagerness for perfection. The figure of the tree acts as inspiration, and frequently appears. It symbolises putting down roots, ancestors, the attachment to the earth, the pillars from which it stands up, reaching its branches up to heaven in an interesting metaphor that speaks of aspirations and intentions, dreams to be linked and restless thoughts searching for the light. Page 62 “ En torno al árbol ” (Around the Tree, 2010). Solid iron. Melis pine stand. 152 x 100 x 60 cm. Life’s adversities are symbolised and sketched out with an excellent capacity for synopsis, applying a masterly emphasis to the chosen fragments to embody the contretemps. Still maintaining the verticality that is practically omnipresent in one way or another in the collection, he skilfully juggles the ideas of reflexive actions and gut instinct to leave a trace of his own instincts: as a direct as a shot, accurate, and ever surprising in their reach. As if entering into the preamble of a possible pact, the iron folds back its wings in what is nothing more than a recovery for a subsequent burst of energy. The resistant, hard-working character of this creative man creates new and valuable stimuli. Page 63 “ Reveses ” (Folds, 2010). Solid iron. Melis pine stand. 120 x 50 x 50 cm. Page 64-65 “ Repliegue y reflexión ” (Fold and reflection, 2010). Solid iron. Melis pine stand. 100 x 70 x 60 cm. After a short flight free, inspiration returns to take up once more its original position, which determines the base of everything; the start of the take-off, the bases on which his monumental allegorical constructions, stuffed with symbolism, attributes and delicious daring, are built. These bases are an incarnation of the unexplainable, the private territory of the soul, a brief pause in the path to take a breath to design new horizons to head off towards. It is the path and its edges, the water and its riverbed, fruit and its seed, the universality of a conjoined vision, completely coordinated from a conciliatory gaze, in peace, both free and freeing. Page 66 “ Reorientando posiciones ” (Reorientating Posi- tions, 2010). Solid iron. Melis pine stand. 138 x 60 x 60 cm. With this unmistakable work, he brings his compendium collection of principles and preamble of intentions to a close. Like Góngora, he uses the resource of allusion to involve both himself and his work in fascinating similarities and proposals that seek to quench his creative thirst. Abrupt, concluding, irrefutable, emphatic and overwhelming in its whole, this limited series runs through the fertile landscapes of the soul and emotionality, where everything that seems already said was renewed, green, cleaned, wild, and half-naked like a hidden mineral. It defines itself once more in a sacrament, in the mists of pure waters where there is no place for cloudiness. Pag 67 “ Manos abiertas ” (Open Hands, 2010). Solid iron. Melis pine stand. 127 x 50 x 33 cm. The unfolding In this second stage, the sculptor experiments and defies the implacable metal to achieve together a new challenge. The captivated metal accedes, and together they create an ebullient sculptural collection, charged with spirituality and fantasy, where the play of constant