Hamaca

The son of a sculptor of religious figures, Zúñiga, in his youth became captivated with the idea of sculpture as a medium for conveying one's deepest feelings. In the solid form of the mestizo woman, Zúñiga found the plastic model in which to develop his numerous deep speculations about the communicative possibilities of solid matter. The vigorous Mexican woman, with her widened, hyperbolized, exposed body, was an animated archetype for Zúñiga as her different attitudes and positions became a language in which the words metaphysical, formal and spiritual had for Zúñiga, no meaning.

'The human model suggests the complex totality of life; the human figure reestablishes a reasoning to conciliate the cultural experience of the image in proportions, structures and movements together with the psychological elements. This means the elaboration and construction of an object that responds to a vital motivation. The challenge is to succeed in facing a live model without any preconceived ideas; this is a challenge of the concept and vision of a representation of an image so that something comes forth in an unexpected and original manner' (Ediciones Galería de Arte Misrachi, Francisco Zúñiga, Mexico City, 1980)