Exhibitions 2016

Villa Arnaga, Cambo-les-Bains

Individual exhibition

from 17 June to 2 October 2016

Jardins du Musée Edmond Rostand, Route du Docteur Camino, 64250 Cambo-les-Bains

www.arnaga.com

Musée de France, Guéthary

Individual exhibition

from 9 May to 25 June 2016

Parc André Narbaits, 64210 Guéthary

www.musee-de-guethary.fr

Kur Art Gallery

Collective exhibition

from 29 April to 25 June 2016

Paseo de la Zurriola 6, San Sebastián

www.kurgallery.com

UNED Calatayud

Individual exhibition

from 8 February to 17 March 2016

San Juan el Real, 1, Calatayud

www.calatayud.uned.es

TEXTS >

 

 

The work of Iñigo Arregi (Mondragon, 1954) in corten steel grows from a certain design predetermined by the conjunction of the masses within a diversified spatial development. Confronting the open spaces that inhabit them, his sculptures are always heavily compact and graceful, as the stiffness of the material is dodged with diverse expressive resources. First of all, the rigorously delineated silhouette provides flexibility to the hardness of the material: the profile defines the spatial extent of the matter with a rhythm of curves and countercurves that brings to the final solution an organic or even biomorphic nuance, though always avoiding the objectual obviousness and activating the gaze of the observer so that the meaning could be ultimately provided by the viewer. In this regard Josemari Velez de Mendizabal has noted: "The forms of Iñigo have become symbols for me, consistents with his spiritual path. Forms may appear similar to a superficial viewer, but rigorous limits make them different. Still, the soul of the artist is entirely there, because that is the valuable final answer". The undulating extension of the metal acts in its broadest sense: it has plastic value as form in itself and as a starting point for a global interpretation, where different steel masses converse through a flexible and rhythmic grammar. Even in the works where the artist incorporates a wide range of material elements, each one holding a particular layout, no accumulation feeling shows up. The artist has a fine ability to fit the pieces together as if it were an immutable puzzle, that is, his sculptural production gives the feeling that nothing is missing nor superfluous in his compositions. Even the active evaluation of the void incorporated into the three-dimensional space created by the work itself, emphasizes this organized nature that, however, takes asymmetry and combination of dissimilar spaces as the basis for his discourse.
El Punto de las Artes, December 2006
 
Rafael Castellano: Graffiti y tótem [PDF 272 KB] (es)
Josemari Velez de Mendizabal [PDF 202 KB] (es)
 
Interview in ArteCuadro, #52 Jun-Sep 2007 [PDF 1014 KB] (es)
 
Noticias de Gipuzkoa, 12-6-2010 [PDF 394 KB] (es)
El Diario Vasco, 28-6-2008 [PDF 255 KB] (es)
Diario de Noticias de Navarra, 12-11-2007 [PDF 410 KB] (es)
Gara, 24-11-2006 [PDF 412 KB] (eu)
Diario de Noticias de Álava, 4-11-2006 [PDF 355 KB] (es)