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sculptures
1943> 1965> 1970> 1975> 1980> 1985> 1990> 1995> 2000> 2010> 2020>
2020−2030
Concrete art is devoid of any reference to existing objects, it does not have any meaning other than “itself”. Staying clear of making any reference to anything existing is not an easy matter; a concrete work of art like a painting is usually not free of any referentiality, because its subject matter already refers to or is guided by the rectangular demarcation of the panel or canvas on which it was made. A sculpture is very often restricted by involuntary references to the material or shape it is made of. So how can we avoid being influenced by any of these realities? Maybe by going through the motions without acquiring materials to use which have already been fabricated by others. These already have a shape and represent what they are.
So, suppose there are two imaginary planes which intersect in space and the point where they first meet can be envisaged somehow and represented by pointing to an invisible location, we would have a concept that has no materiality but could be made visible by using any medium at hand, which at the same time becomes secondary because its form is not manmade: for me this is - in this case - a non-obtrusive object like a boulder of which there are countless numbers all around my living and working place. By making cuts where the planes have entered the stone and with the passing of the saw blade, which represent a plane in space, its mark is left as a void which in fact is the artifact that is not there. These two slits meet somewhere in the center of the stone and divide the flow of matter coercing it to follow the interior space of the stone.
