Jacinto Moros

Mathematical beauty

The homage of the curve developed by Jacinto Moros in his artwork enjoys, as a good production with strong foundations, a prismatic texture that expands interpretations and rich metaphors. A kaleidoscope that sheds formal readings as the measure of abstraction of his embossing or the different levels that characterize his wooden sculptures. Based on these two creative points, a poetic narrative arises based on movement where the forms flow and dynamism are expressed through the principal virtues of the sculptural tradition. This is present on the flat plane, present in his graphic work, or in the challenge of his three-dimensional spatial pieces. We are facing meticulous and experienced work that acknowledge the paradox of sustained movement, that eternal moment that forgets it’s origin and its possible derivations, that even being ubiquitous concepts, are not conditioned. The existing works of Jacinto live in the moment, resulting in an agreeable dialogue with the viewer. They share, without vanity, the timelessness which nourishes them. Hence these curves, the protagonists of his work, are equally comfortable between Euclidean calculations as they are amongst the boldest theories of relativity.

Another of the subtle constants evident in Jacinto’s works are the dialogues established by science and nature. Science, the process; nature, the tree that is transformed into woods, and at the same time transformed into paper that works as raw material. Procedural flourishes like fluid swirls that describe his sculptures, in which the artist’s inspiration propels as a jet engine, the materials composing trails in which we identify human measures or the behavior of energy that interacts with both surface as well as the forces that govern the universe.

The reference to Bertrand Russell it is almost inevitable when, speaking of mathematics, he insisted, not only in the inherent truth of them, but also in the supreme beauty that they represent. In his words, “a beauty cold and austere, like that of a sculpture, without appeal to any part of our weaker nature, without the gorgeous trappings of painting or music, yet sublimely pure, and capable of a stern perfection such as only the greatest art can show. The true spirit of delight, the exaltation, the sense of being more than man, which is the touchstone of the highest excellence, is to be found in mathematics as surely as in poetry”.

Naturally, Jacinto Moros’ calculations go beyond the cold and austere beauty of Russell, with the addition of human dimension and implied sublime colour. The human dimension is represented in the liveliness that is shown in his sculptures, sublime in the pure white that rules the other pieces, where, as with happens in life, its growth depends on an external source of light. As projections of the soul, each curve represents an impulse, swerves that usually carry contradictions, natural cycles, the symmetries and finally, the difficulties that characterize any search for answers and freewill that is so desired.

Bill Jiménez

 

FEC1, 2016. 95x95cm. Embossing on arches paper. Edition of 25, numbered and signed.

 

FEXPM, 2017, Embossing on arches paper, 95 x 95 cm

FNC, 2017, Embossing on arches paper, 95 x 95 cm

TFEX, 2016, Embossing on arches paper, 95 x 95 cm

 

FPA, 2017, maple wood and rosewood, 127 x 80 x 34 cm

FEAM, 2017, maple wood and formica, 80 x 71 x 34 cm

FO, 2017, maple wood and olive ash wood, 134 x 80 x 43 cm

FMK100, 2017, maple wood and formica, 132 x 70 x 35 cm

FTOR, 2015, maple wood and formica, 126 x 55 x 30 cm

FEV, 2016, maple wood and formica, 86 x 44 x 30 cm