Jacinto Moros

Jacinto Moros - MKP

Técnica: Arce and formal wood

Biografía del Artista: Jacinto Moros is a Spanish sculptor and graphic artist born in Albacete in 1959. He began his studies at the School of Arts and Crafts in Albacete and later moved to Madrid to study Fine Arts at the Complutense University. Moros' work is characterized by an obsession with form and movement, which is reflected in the curvature and dynamism of his sculptures and engravings. The influence of the Spanish sculptural tradition is evident in his work, but Moros takes it to a more abstract and conceptual level, exploring the possibilities of form and space in themselves. In his graphic work, Moros uses techniques such as embossing to create textures and reliefs on paper, which suggest the presence of moving forms. His sculptures, meanwhile, play with the relationship between space and object, creating shapes that seem to emerge from nowhere or disappear into the distance. Despite his interest in form and movement, Moros' work is not limited to the purely abstract. In his sculptures, influences from nature and architecture can be detected, and in his graphic work, figurative elements can often be distinguished. This gives his work a broader and more universal dimension, which transcends the limits of the purely formal. Moros has exhibited his work in numerous solo and collective exhibitions, both in Spain and in other countries, and has received several awards and recognitions for his work. His work is part of important public and private collections, and has been the subject of study and analysis by critics and contemporary art theorists.

The cult of the curve developed by Jacinto Moros in his work enjoys, as a good production with solid foundations, a prismatic texture through which interpretations and rich metaphors expand. A kaleidoscope that throws up formal readings such as the measured abstraction of his embossing or the play of levels that characterises his wooden sculptures. From these two creative nuclei a poetics about movement is born. The forms flow and the dynamism gathers the main virtues of our sculptural tradition. Whether in a terrain such as the plane, present in his graphic work, or in the spatial challenge of three-dimensional pieces. We are faced with a meticulous and experienced work in which we notice the paradox of sustained movement, that eternal instant that forgets its origin and its possible ramifications, which, despite being omnipresent concepts, are not conditioning. Jacinto's works exist, they live in the moment, they engage in a friendly dialogue with those who contemplate them and even share, without vanity, the timelessness that nourishes them. Hence, these curves, formal protagonists of his production, feel equally at home among Euclidean calculations as among the bravest relativist theories. Because another of the subtle constants in Jacinto's works are the dialogues established between science and nature. Science, the process; nature, the tree that mutates into wood and, in turn, transforms into the paper that will also serve as raw material. Procedural turns as fluid as the curls that describe his sculptures, in which Jacinto's inspiration propels them like a jet engine and the materials compose trails. In them we identify human measurements or the behavior of energy when interacting with both surfaces and the forces that govern the universe. The reference to Bertrand Russell is almost inevitable when, speaking of mathematics, he insisted not only on the truth inherent in it, but also on the supreme beauty it represents. In his words, “a cold and austere beauty, like that of sculpture, without appeal to any part of our weak nature, without the magnificent ornaments of painting or music, but sublime and pure, and capable of a severe perfection such as only the best arts can present.” The true spirit of delight, of exaltation, the sense of being greater than man, which is the criterion by which the highest excellence is measured, may be found in mathematics as surely as in poetry.” Naturally, Jacinto's calculations go beyond Russell's cold, austere beauty by adding to his works the human and sublime dimension implicit in colour. Human in the liveliness exhibited by the sculptures, sublime in the pure white that governs the rest of the pieces, where, as with life itself, its growth depends on an external light. Like projections of the soul, each curve represents a drive, the turns to which contradictions usually lead us, natural cycles, symmetries and, finally, the ascents and descents that characterize any search for answers and the much desired free will.