Jacinto Moros was born in Cetina, Zaragoza in 1959. He began to develop his career in New York, where he lived for five years. He finally moved to Madrid.
Jacinto has had numerous solo and group exhibitions in Spain, United States, Germany, United Kingdom, Austria, etc.
More about the artist
The cult to the curve developed by Jacinto Moros in his work enjoys, as a good production of solid foundations, a prismatic texture through which interpretations and rich metaphors expand. A kaleidoscope that yields formal readings such as the measured abstraction of his embossing or the play of levels that characterizes his wooden sculptures. From these two creative cores, a poetics around movement is born.
The forms flow and the dynamism gathers the main virtues of our sculptural tradition. Whether in terrain such as the plane, present in his graphic work, or in the spatial challenge of the three-dimensional pieces. We are before a meticulous and experienced work in which we notice the paradox of sustained movement, that eternal instant that forgets its origin and its possible ramifications, which although being omnipresent concepts, are not conditioning.
Jacinto’s works exist, they live in the moment, they dialogue amiably with those who contemplate them and even share without vanity the timelessness that nourishes them. Hence, these curves, formal protagonists of his production, feel equally at ease among Euclidean calculations as among the bravest relativist theories.
Because another of the subtle constants in Jacinto’s works are the dialogues established between science and nature. Science, the process; nature, the tree that mutates into wood and, in turn, transforms into the paper that will also serve as raw material. Procedural twists and turns as fluid as the spins that describe his sculptures, in which Jacinto’s inspiration drives them like a reaction engine and the materials compose a wake.
The true spirit of delight, of exaltation, the sense of being greater than man, which is the criterion by which the highest excellence is measured, can be found in mathematics as surely as in poetry.” Naturally, Jacinto’s calculations go beyond Russell’s cold and austere beauty by adding to his works the human and sublime dimension implicit in color. Human in the vividness exhibited by the sculptures, sublime in the pure white that governs the rest of the pieces, where, as with life itself, its growth depends on an external light.
As projections of the soul, each curve represents a drive, the twists and turns to which contradictions tend to lead us, natural cycles, symmetries and, finally, the ascents and descents that characterize any search for answers and the much desired free will.