The cult of the curve developed by Jacinto Moros in his work enjoys, as a good production with solid foundations, a prismatic texture. From this, the interpretations and rich metaphors expand. A kaleidoscope that throws up formal readings such as the measured abstraction of his embossing or the play of levels that characterises his wooden sculptures. From these two creative nuclei, a poetics of movement is born.
In the first place, the forms flow and dynamism is a collection of the main virtues of our sculptural tradition. Whether in a 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. Therefore, we are before that eternal instant that forgets its origin and its possible ramifications. Although they are omnipresent concepts, they are not conditioning.
Jacinto’s works exist, they live in the moment, they converse amiably with those who contemplate them. They even share, without vanity, the timelessness that nourishes them. Hence, these curves, the formal protagonists of his production, are just as comfortable among Euclidean calculations as among the bravest relativist theories.