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Artistak berak dioenez: “Gauak aurpegierak ditu. Aurpegiera horiek ikustarazten dizkigun intuizioa du. Denbora geldiro doa, pentsamenduak begiak ixten ditu eta guztia sentsazioa, pertzepzioa da. Gure ibilera zuta zalantzazkoa da eta gure ikusmena, funtsezko euskarria, gauzaeza. Guztiaren sentsazioa galdu egiten da eta entzumenak bakarrik sumatzen du soinu bat, hutsik dagoen itsas kurkuilua gerturatzean itsasoa entzuten duela uste duenean bezalaxe, kasu honetan, isiltasuna entzuten duela uste du. Hori guztia gertatzen denean gauean gaude, oroimenaren ametsa eta dena da aurpegiera. Beti argia ematen dugu ikusi ahal izateko edota espazioa sumatzeko. Ez al genuke ilundu beharko? Eta espazio beltzean egun-argitik lotan dauden beste sentsazio horiek sumatu”.
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From 2000 his work has focused on the analysis of the forms and aspects of darkness, the change in perception that occur in the dark, an idea he aims to reflect in his sculptures. The passing of time and the disappearance of the human trace on nature is also present in Siege I, 2003, an artwork that combines sculpture and a bas-relief to delimit a place, a landscape at night. As the artist says, “the night has features. It possesses the intuition that lets us see those features. At night, time slows down, it shuts off our eyes and thoughts and everything becomes sensation and perception. Our steps become hesitant. Vision, our most essential support, is annulled. The sensation is one of everything disappearing. Our ears seem to hear the silence, like we seem to hear the sea when we listen to an empty shell. When all this happens, it is night, the dream of memory and everything is shape and feature. Instead of always shining a light to see or perceive spaces, shouldn’t we perhaps darken them? In the black space, we perceive other sensations that sleep in the light of day.”
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