This piece corresponds to a premise of Robert Morris's which Sergi Aguilar has incorporated into his work, i.e. that the forms used in modern art can be seen in the art of the past; only the context, the intention and the arrangement are different. The title of this sculpture evokes the refined, ductile structures of Gothic architecture. With that direct reference, the work becomes an architectural fragment with Mediaeval echoes -which has exchanged stone for iron- or a vestige of construction which retains a certain irony about the idea of the classicism which is directly connected to order and the canon. The work maintains extreme qualities of workmanship and execution and sculptural rigour; the careful technique and formal Atticism are outstanding. The boundaries of the work are so well defined that they attain an exquisite sharpness and austerity, and the profile of the iron sheet converses with the space that surrounds it. Unlike his earlier works, in which he is looking for uniformity or the perfect monochrome finish, in this piece he achieves the chromatic brutality of rust while playing with chance. The colour of the material acquires strength and, in tension with the severity of the form, becomes a fundamental element that confers a strong organic quality on the work. The veneer and the chromatic vibration take on an intense depth, and the blacks, greens, greys and earth colours provide extremely subtle, captivating shades and tonal gradations. The surfaces, imprinted with an explicit sensuality and strong emotional overtones, become tactile. The dissonances, discontinuities and asymmetries are superimposed on the coldness, inscrutability and weight of the volume. Without concessions, from a pictorial stance, his intimate knowledge of iron enables him to achieve great expressiveness and a perfect balance between work on the material and the effort to express what remains hidden in the traces.
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