eduardo chillida 1924 - 2002 - collage and architecture

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“The limit is the true protagonist of space at present, another limit, is the true protagonist of time” 1992 No precisa de Ia incorporacion de tinta porque los bardes del papel son los propios limites, marcan los diferentes espacios. Los diferentes contornos interrelacionan entre si facilitando un juego de formas. El artista juega con las diferentes texturas, de apariencia rugosa, y con Ia creacion de formas sencillas y puras. Se trata de un collage mas proximo al concepto escultorico que al dibujo bidimensional. En el resto de collages, mas cercanos a sus dibujos, los trazos de tinta dialogan con los bordes recortados consiguiendo asi un interesante juego de limites. Si al principia de su carrera artistica tuvo que comenzar a dibujar con Ia mano izquierda para que esta no fuera mas rapido que su mente, en las ultimas decadas las manos parecen haber adquirido Ia sabiduria necesaria para no adelantarse a su cabeza. Las lineas son trazadas conclenzudamente, con lentitud, no surgen de forma espontanea como cabria imaginar, ya no tiene que controlar Ia mano pues a mente Ia ha adiestrado. It does not require the incorporation of ink because the edges of the paper are those limits, mark the different spaces. The different contours interrelated with each providing a set of forms. The artist plays with different textures, rough appearance, and the creating simple and pure forms. This is a collage sculptural closer to the concept than two-dimensional drawing. In the rest of collages, closest to his drawings, ink strokes dialogue with jagged edges so getting an interesting set of limits. If at the beginning of his artistic career he had to start drawing with left hand so that it is not faster than your mind, in recent decades he seems to have acquired hands of wisdom that do not get ahead of his head. The lines are drawn consciencelessly, slowly, do not arise spontaneously as one would imagine, and not have the hand controlling the mind has we have been trained. Sin titulo, 1992
gravitiaions 1987 1989 A traves de las gravitaciones se genera en su proceso creativo una nueva via de experimentacion. En este periodo, marcado por Ia importancia de Ia obra publica en su produccion, al contrario de estos monumentos a gran escala, Chillida abre un nuevo camino expresivo en Ia intimidad de su estudio, un proceso creative original: las gravitaciones. Realizadas en papeles artesanales elaborados a mano, las gravitaciones se alejan del concepto plastico de collage. Eduardo Chillida, ciertamente cansado de Ia utilizacion de Ia cola que no deja pasar el espacio en sus creaciones, descubre una nueva forma de actuacion; donde antes habia cola ahora “mete” el espacio. Asi, en 1985, realiza su primera Gravitacion: “Nacen inesperadamente. Un dia estando yo trabajando como cualquier otro dia. A mi nunca me habia gustado Ia cola. El hecho de pegar los papeles no me parecia el ideal, pero nunca se me habia ocurrido que se podia solucionar de muchas maneras. 1990 1990 Through the gravitational generated in the creative process a new way of experimentation. During this period, marked by Ia Ia importance of public works in their production, in contrast to these large-scale monuments, Chillida opens new Ia expressive intimacy of his studio, original creative process: the gravitational. Made of hand made paper, the gravitational plastic away from the concept of collage. Eduardo Chillida, certainly tired of Ia utilization of the tail does not pass the space in their creations, discover a new way of working, where before had tail now “gets” space. Thus, in 1985, made his first Gravitation, “born unexpectedly. One day while I was working like any other day. As I never had liked the tail. The fact I did not hit the papers seemed ideal, but I never had happened that could be solved in many ways. Gravitation, 1987 Gravitation, 1989 Gravitation, 1990 Gravitation, 1990
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eduardo chillida 1924 - 2002 - collage and architecture

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