Fogar, from the old Spanish word hogar, pays homage the home’s most essential elements—table, chair, stool—transforming them into impossible forms and colors that evoke the simplicity, warmth, and authenticity of the everyday hearth.
The 'Estancias' explore the idea of passive space. Layers of fabric reveal colored backgrounds and organic geometries that suggest a non-existent volume.
In the Arkitektons sculptures in concrete and plaster, Malevich’s imaginary architecture is celebrated: each unique form suggests silent, impossible volumes, while a nod to Oteiza’s chalk laboratory and Basque constructivism pays homage to experimentation, geometry, and the imagination of space.
In the works Kokoro, Fukei, and Jikan, repetition is celebrated: the same gesture always produces a different outcome, almost meditative in its process and in the experience of the viewer.
Tectonias, minimal forms. They trace the path of dwelling, invoking essential architecture (tectos). They aim to celebrate maximum spatial sophistication, the culmination, the most achieved atmosphere.
Zuria gogor eta leuna, elurrak ez du hitz egiten, osaba Inazio oihuka zerutik (arr), Atetz eta Ultzama artean itxialdian, motosega eta pago-egurra, mendiak gauzak esaten dizkit, nire lurra nire zerua da (arr), elur askearen gainean jaio den eskultura, artea? agian. Gauzak? ziurrenik. Gauza garrantzitsuak ez dira gauzak.
Within the body of work, the 'Estancias' vary according to the number of layers and separations, alternating volumetric pieces with others of subtle relief.
Geometries of the Void. Constructions and de-occupations of orthohedrons. Between subtractions and truncations, concatenated Ls and Cs are molded. I pursue ternary combinations, activating spaces until reaching the aesthetic being. Perception struggles before this living game; a process where the end lacks interest. Resting on mini-slats, they inhabit suspension and lightness.
Section photographs by Mara Alonso.
