From October the 24th until December the 11th
More than a sculpture in itself, his work raises and expands in the air like an extended poem, a poem of baroque spirit that tries to enter into an unlimited space and make accessible the infinite, that is, the mystery lost in infinite chaos. This same concept of a sculpture being built like a poem written as lines developing in the air, situating the piece in that elegant and interesting limit of where design, sculpture, architecture and, even painting, are -a territory of discord between the autonomous sculptorical object and the story of bodies and energies at constant mutation.
Of course, Jacinto Moros can enroll in the present generation of sculptors we call neobaroque, those who since the end of 1980 decade, keep their sight pointed to a double and antagonist direction: the one of the open process by the new geometrical abstraction (postminimalism) and the one that recovers the attention to baroque, understanding “the baroque” not like a style or way that belongs and characterizes a specific period of the history, but like an aesthetic category or formal quality produced and still producing along all the process of our culture.
As far as we know since Omar Calabrese in his known book L´etá neobarocca, 1987- Castilian edition, La era neobarroca, 1989 (Neobaroque Era, 1989)- analyzed how “the neobaroque is a time air (turbulent, fluctuant and instable time) that invades many cultural phenomenon throughout all knowledge fields. They make them familiar to each other, but, simultaneously, they differentiate them from other cultural phenomenon from a more or less recent past. (…).
Following this direction, in J. Moros´ work, we see to mix the cold aesthetic of the formal reduction and the geometrical language, with the will of baroque spirit, fold, labyrinth, metamorphosis state and the excess of the baroque spirit.
J. Moros´ work is developed between both domains, establishing a peculiar dynamic balance, at the same time it keeps an ambivalent feeling between the structural geometrical forms and the need of representing the referred theme.
The bottom line that presently runs the process in Jacinto Moros, is the one that captures energy movements, adapting the matter and turning the movement into solid. Before, the interest was centred on taking the form of images, the kinetic energy of the liquid shapes, forming into solid materials. The dynamic or force system of the air running is now the energetic referent. The artist tries to turn it into a practically pure movement and into a rhythm, a rhythmical spatial flow, a “liquid rhythm” -in the sculptor’s words-.
The material has been and keeps being an important plastic element in J. Moros´ work, who knows very well that Art consists in a conceptual core and a vision. Now then, in order to formulate that concept and vision as an art work, it is precise to choose materials that embody it, and to apply them a fixed technicality, in consideration of the aim that it is pursued.
The singularity of Moros as for the material, is born from the fact that, since the beginning, he built the laminated work without a clear perception of its stratified layers, after this, he has continuously created laminated bodies, usually combined in layers of ash, ebony, palisandro and coloured wood. Throughout this technique, he produces a band of wood whose profile makes evident the variety of texture and, all over, of colour components, at the same time it visually vibrates in a particular way. Being everything manual, Jacinto Moros now resorts the presence of the “formica” to underline the industrial concept that is in his poetry. With that so sophisticated procedure and with the effect of occasionally painting in oils the surfaces of the strip with bright colours, he gets to come near and to make the concepts of sculpture, painting and design talk. In the same way, the artist projects aerial, crystalline architectures and imaginary landscapes whose drawings represent ways of water flows and directions of air running with these laminated works, getting the sculptures to be metaphor of the time process and of the transformation.
Text from JOSÉ MARÍN-MEDINA