Pencil and ink on paper
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The Basque artist Iñigo Arregi shows us his sculptures and reliefs under the same plastic concept that has in common his eagerness for geometric shapes that intersect. This is the case of “Musikal II” (2021).
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, which can be separated and joined again as if it were a puzzle. The mural volumes, made of cardboard, drawing and paintings, maintain the same criteria as the sculptures.
Iñigo Arregi’s relationship with Corten steel goes back a long way and has been fruitful for decades. It has made it easier for Iñigo to transfer his ideas to forms in which argument and experimentation take precedence; it has also allowed him to play with time thanks to the properties of the metal itself, whose oxidation works on its own resistance. Thus, verticality and horizontality are not only projected on the physical plane, but also in time. Different planes that follow one after the other and form unique and original perspectives, a framework in which aesthetics allows a playful game of effects and views.
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. The experience, his own and that of those who inspired him, is the driving force of his works. In them, we find the essence of a whole tradition of Basque sculptors, one in which Iñigo himself already plays a crucial role in understanding the works to come and to come.