Permanent Collection

Sergi Aguilar

Barcelona, 1946

Aguilar’s impeccable and contained oeuvre is deeply rooted in cubism. Julio González’s experiments with iron and his attempts to create volume by "drawing In space" also influenced his work. At the start of his career, when he began carving Belgian black marble into heavy, smooth sculptures, Aguilar fell into the definition of an ordinary sculptor, someone who molds material into form. However, in 1979 he switched materials and started employing iron sheets, thereby replacing solid forms for void spaces. Even if he did not enclose these spaces, he did establish precise yet fleeting limits.

"Frontal – 3", 1984
Frontal – 3, 1984

The present work exemplifies how two planes can take the place of volume and mark the limits of an open, empty space that is stressed by those same planes. Nonetheless, Frontal - 3 is not a cubist sculpture, nor does it seem to represent a figure. On the contrary, Aguilar, who has assimilated and polished experiments first conducted by minimal artists, carries out an in-depth analysis and discards superfluous details in what turns out to be a fascinating exercise in geometry. In this sculpture, the artist stresses the interplay between the rational and balanced right angle and the irrational slanted plate. As tension builds around the planes, a disturbing sense of order emerges, revealing the true driving force of the work.

Drawings and preliminary studies, especially models, are the starting point for this type of work, in which once the forms have been conceived, the materials—in this case, impeccably cut and assembled rusted iron—are used to shape a solid and physically imposing piece.

Javier Maderuelo

Este texto sólo puede reproducirse citando su procedencia:
Catálogo del Museu Fundación Juan March, Palma de Mallorca.