Ordering planes in Space

About

The engine of Ordering planes in space is the experience, the one of Iñigo Arregi and those who inspired him. At the show revealed at Victor Lope Arte Contemporáneo, we find the essence of a long-standing tradition of Basque sculptors, one in which Arregi himself already plays a decisive role in understanding the works that come and go. His solid discourse is inexorably evolving with each one of his creations. We notice a concern for the balance between volumes, as well as a respect for the emptiness to be conquered.

Arregi orders planes in space, a field that can become rough without proper training and discipline. These points are fundamental to obtain harmony between the endless perspectives that Iñigo composes in sculpture. He understands the vicissitudes of matter and corten steel, which is his hallmark. In his proposal, there are multiple planes, which cause both a firm pattern in its intersection and a risk of repetition. The Basque artist avoids this problem through his interest in the challenge and because of the mix of pieces in a space that, at first sight, seems full of possibilities. Despite the difficulty in the artistic practice, Iñigo solves it with intuition and acquired knowledge. It is assumed that he made sacrifices, inherent to the plastic exercise, but necessary for the final message to be unique, a singular sculpture, a single reality.

Ordering planes in space works on a remarkable temporal level as well. Time is introduced into the works not only through the artist's experience. The materials also invite this magnitude to be expressed, while the rules are being set as a distinctive feature in the artist's works. Iñigo Arregi's relationship with corten steel has been long-standing and fruitful for decades. Arregi was able to transfer his ideas into forms in which argument and experimentation take precedence. It also allowed him to play with time thanks to the inherent properties of the metal itself, whose rusting works on its own resistance. Thus, verticality and horizontality are not only projected on the physical plane, but also in time. Arregi manages to make his pieces live at the same time in the yesterday, today, and tomorrow; the moment depends on the angle in which they are contemplated.

Ordering planes in space is a kaleidoscopic exercise, of traditions that are still alive, of risks that are accepted as a need for artistic growth. Dynamic artworks, robust in turn, that are rooted in daily forms to mutate thought blend and alignment into exotic constructions of high aesthetic value.