ANTONIO DÍAZ GARCÍA - ESCULTURAS

suffering, something that attempts to transmit synthetically through a spiral representation of absence, longing and introspection. From a different point of view, the spiral symbolises the spiritual connections between man and universe, remembering the cyclical, non-linear passing of time; it is the primeval sound, a sign of the ineffable and of regeneration, a chalice of affection. Page 144-145 “ Congoja ” (Anguish, 2009). Stainless steel. Melis pine stand. 150 x 35 x 35 cm. To unfold your wings, removing your burden, retaking flight, continuing the journey, chasing dreams, freeing time, removing the rubble and uncovering the sky, to borrow Mario Benedetti’s words. It is true that there is still life in your dreams and that every day, every step is another piece of glory. This is a full stop, the assumption of a position, a reconstruction of the stratagem. It breaks a mould and breaks ties. A piece that seems to want to mesh together what has happened and what is yet to happen; a compass that shows north and draws the south. Aprudent parenthesis, a digression at the halfway point, an anteroom to the dawn of new ways of interpreting what is everyday, natural, of what is ever present. Page 146-147 “ Norte y sur ” (North and South, 2009). Stainless steel. Melis pine stand. 120 x 105 x 25 cm. With his return to the game AD finds once again the tempo where he feels best. Once more the impossible and vertical balances advocate their hegemony without disconnecting themselves from the shining steel, on whose gleaming skin light is refracted, producing blinding flashes. This piece is beautiful, both in its intentions and its svelteness. It retraces the original lines all the while updating its content, emphasising its ways, showing off the most multi-faceted of its luxuries. As such it gilds the lily of a dare, of a joyous whim that acts as a triumphant recreation to the artist in the recreation of shapes of a skilled and highly delicate execution. projects To Toni, my wife, for the enormous help you gave me. Thank you for being constantly at my side. To Ismael, my son, for his good advice and support. Thank you for being like that. To my daughter Ana, part of my greatest work. Thank you for encouraging me and pushing me to go forward. To Josep Maria Martí, my first and greatest teacher. From you I learnt to love iron. To Cinto Casanovas, for sharing his friendship and wisdom with me. To Matilde Grau, a great sculptor. Thank you for your collaboration. To Josep Giribet. You are a great artist and an excellent human being. To Jaume de Oleza, an architect of life itself. Your words truly moved me. Thank you. To Josep Patxí. What could I say about all those talks we had together with our dear friend, Antonioti, may he rest in peace! To Benito Lara and his family, from Irizar Forges. Thank you for opening your home to me and allowing me to make my dreams reality. To Rafael Alcorta and Francisco Javier Vargas, from Gainza Forges. Thank you for your great disposition. To my beloved iron, my loyal companion and the source of all my inspiration. To God, thank you for allowing me to live this way. And to Luisa Noriega, I’ve left you for last. You are a very important part of my artistic project. You love and enjoy your work, you are an admirable and hard-working professional. It is not too much of a stretch to say that you are a person of great depth, defender of truth and quality. Thank you for all your help, for believing in my work, for understanding and defending my work, and for all the effort you have invested in editing this book. Diaz García. Page 149 “ El retorno al juego ” (The Return to the Game, 2009). Stainless steel. Melis pine stand. 150 x 40 x 35 cm.