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José L. Rayos

José L. Rayos

Madrid, ES

José L. Rayos recently worked on...

...This work explores a refreshing perspective on the use of space and lines within sculpture. With a tendency to explore and reveal the artist’s imagination and perception of human figures, a subtle world of senses and emotions is expressed by freely shaped curves “in the air”. Wire sculptures, just like drawings on single unbroken lines. The electrosoldered metal-meshed sculptures: cut, molded, and cut again, suggesting the human body in action. Those are basic wrought ironwork materials, simply molded and transformed to display some behaviours of the human spirit, when trying to communicate with gestures, hands, emotions. An open, clear figurative language is created where concepts such as space, surfaces and shape are being played with, transforming a formal ambiguity into something tangible. My career as an architect and constant use of drawing tools have allowed me to grasp the notion of space, which has been key to my sculpting as a form of personal expression. Iron and hands find their way through a line suggested by Paul Klee, they freeze on Picasso’s enlightened sketches, and evolve on Calder’s circus, but always framed in an own, personal aesthetic code. Bending wires and meshes allows control of surfaces and volumes, by simply shaping very expressive curves. Still, further than observing and making copies of the human body in a defined pause, I intend to catch, through a vague memory, some feelings and emotions I once lived. The recurrent theme, « Hands », opens up a whole repertoire of choreographies, in which they make themselves up and tell, at the same time, what they have to say, silently. The wire sculptures, and now the ones made with iron bars on a major scale, are also drawings in their simplest terms. Drawings in one go, single and unbroken lines: Air as paper, and hands as a pencil, which manipulate and lead the metal stroke to change into a shadow, reflected on a surface. On the other hand, the galvanized-steel-made mesh, of industrial type, is used as a rigid textile for an improvised design –patching, and cutting till obtaining undecided shapes, of an intuitive and suggestive kind, with no boundaries. From the cold and basic material springs out the organic: like a mere distortion from the frame. An extreme figurative synthesis, grown by the use of a modest and almost transparent matter. In addition to sculpture, and related to it, the graphic works are diversions from some of the sculpted pieces. They’re results of my searching to get and freeze the visions created by those lines curving in the air. The works are shot on various moods so that they can interact with light, background and textures. The shadows, silhouetted on the ground, compete with the object while offering another point of view, like a mirror would do, answering back and enhancing the standpoint according to the light beam it’d receive. When isolating projection, those shadows reveal a plain and uncertain stroke, telling what they really are: drawings. Drawings for dialogues.

This work explores a refreshing perspective on the use of space and lines within sculpture. With a tendency to explore and reveal the artist’s imagination and perception of human figures, a subtle world of senses and emotions is expressed by freely shaped curves “in the air”. Wire sculptures, just like drawings on single unbroken lines. The electrosoldered metal-meshed sculptures: cut, molded, and cut again, suggesting the human body in action. Those are basic wrought ironwork materials...

Jan 7 '13
 
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