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拍品專文
This work is registered in the archives of the Museo Chillida-Leku, under no. 1989.034
The intimate relationship between the artist and his medium lies at the heart of Eduardo Chillida's work. Much like his Bauhaus predecessors in Europe, Chillida's work reflects the profound interest and familiarity of the artist with the properties of the medium he puts to use. As a trained architect, his efforts seem intensely premeditated and conscious of the relationship between space and form. As such, his works are void of imperfections and always reduced to their most evocative essence.
Chillida's work is also profusely vernacular. His choice of a natural colour palette, derived from the medium he works with, expresses all the ruggedness of his native Basque country. This and other qualities have been praised in the academic writings of many an architect, philosopher and mathematician. The widespread admiration and official acknowledgement of Chillida's work thus reflects its universal appeal, for it bridges gaps between architecture, sculpture and painting.
Untitled is a work on paper that has been sculpted from an assortment of materials. All of the elements: the string, the ink and the hand-made paper are assembled in a balanced sculptural manner to produce a composition of universal order. Its colour palette is determined by the media and the overall form is fundamentally shaped by the elaborate hand-crafted process of paper-making.
The artist's allowance for a kind of natural variation runs as a common theme throughout his work, from the calculated rusting process of some of his architectural sculptures down to the sensitively anticipated soaking up of the ink below the surface of the undulating paper. The contemplation and boldness inherent in Chillida's works accounts for their monumentality. Regardless of scale, they forever symbolize the strong link between the artist and the soil of his homeland.
The intimate relationship between the artist and his medium lies at the heart of Eduardo Chillida's work. Much like his Bauhaus predecessors in Europe, Chillida's work reflects the profound interest and familiarity of the artist with the properties of the medium he puts to use. As a trained architect, his efforts seem intensely premeditated and conscious of the relationship between space and form. As such, his works are void of imperfections and always reduced to their most evocative essence.
Chillida's work is also profusely vernacular. His choice of a natural colour palette, derived from the medium he works with, expresses all the ruggedness of his native Basque country. This and other qualities have been praised in the academic writings of many an architect, philosopher and mathematician. The widespread admiration and official acknowledgement of Chillida's work thus reflects its universal appeal, for it bridges gaps between architecture, sculpture and painting.
Untitled is a work on paper that has been sculpted from an assortment of materials. All of the elements: the string, the ink and the hand-made paper are assembled in a balanced sculptural manner to produce a composition of universal order. Its colour palette is determined by the media and the overall form is fundamentally shaped by the elaborate hand-crafted process of paper-making.
The artist's allowance for a kind of natural variation runs as a common theme throughout his work, from the calculated rusting process of some of his architectural sculptures down to the sensitively anticipated soaking up of the ink below the surface of the undulating paper. The contemplation and boldness inherent in Chillida's works accounts for their monumentality. Regardless of scale, they forever symbolize the strong link between the artist and the soil of his homeland.