The cult of the curve developed by Jacinto Moros in his work enjoys, as a good production with solid foundations, a prismatic texture through which interpretations and rich metaphors expand. A clear example is his work FEAM (2017).
A kaleidoscope that yields formal readings such as the measured abstraction of his embossing or the play of levels that characterises his wooden sculptures. From these two creative cores a poetics around movement is born.
The forms flow and the dynamism reflects 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, that eternal instant that forgets its origin and its possible ramifications, which, although they are omnipresent concepts, are not conditioning.
Jacinto’s works exist, they live in the moment, they converse amiably with those who contemplate them and 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.
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 act as raw material.