Iñigo Arregi (Arrasate-Mondragón, 1954) is considered heir to the Basque sculptural avant-garde of the late twentieth century, having forged his artistic career in close relationship with the industrial environment of his native Mondragón. His recent work is synthesized in his characteristic intertwined sculptures in Corten steel, some of large format, as well as in small pieces and reliefs in cardboard and wood. His work is regularly exhibited in galleries, museums and European art fairs, and his work is part of numerous public and private collections.
More about the artist
The Gipuzkoan space has brought together a sculptural development that undoubtedly stems from nineteenth-century academicism. Undoubtedly, contemporary Basque sculpture has developed along very similar paths. For example, that of Oteiza and Chillida, from which the new successor generations have imbibed.
Among these names is that of Iñigo Arregi, who goes from the influence of the masters to reach his own sculptural concept. A decisive moment is, without a doubt, his coincidence in the School of Arantzazu with the work of the artists in the Basilica.
The Basque artist Iñigo Arregi shows us his sculptures and reliefs under the same plastic concept that has in common his eagerness for geometric forms that intertwine.
The pieces, in different planes that overlap. Alignments that, in the case of the sculptures, fit together to form a harmonious whole, formed by planes that meet or join, that can be separated and joined again as if it were a puzzle.
A discourse of non-explicit references, of complex arguments related to emotions. Visions only frontal, unlike the sculptures that can be contemplated from any perspective.