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From words to the catalogue of the exhibition Sexinética II (fragment)
Pedro de Oráa
 
...”the idea of mobility of forms and structures would be present in him, according a gradual observation of resources, and concerning the material to be worked: when he faces to carve wood, reluctant to quit its statism, he makes it thinner, until making it vibratile to finger contact and pressure on its segments (movement induced by visitor´s intervention); When assebling metals, he equilibrates its pieces, so the wind will balance ones or others (movement induced by a natural agent); when constructing complexes metallic bodies, he introduces miniengines in order to generate mechanical actions from thir parts (artificial movement, induced by electric energy). Osneldo transits from Alexander Calder –renown by his mobiles and steadies-, to Jean Tinguely –remarkable by his mechanized structures -, but the multiplicity of aims from which they individually lack, is what distinguish from them. Kinetics fulfill in the Cuban sculptor a meaning and emphasis core function to his thematic proposal:: the eros as a cathartic game, the body as a space project. Themes developed by no one, or not touched with the easyness, the humour and the phantasy he does”... (Pedro de Oraá, from his ...”the idea of mobility of forms and structures would be present in him, according a gradual observation of resources, and concerning the material to be worked: when he faces to carve wood, reluctant to quit its statism, he makes it thinner, until making it vibratile to finger contact and pressure on its segments (movement induced by visitor´s intervention); When assebling metals, he equilibrates its pieces, so the wind will balance ones or others (movement induced by a natural agent); when constructing complexes metallic bodies, he introduces miniengines in order to generate mechanical actions from thir parts (artificial movement, induced by electric energy). Osneldo transits from Alexander Calder –renown by his mobiles and steadies-, to Jean Tinguely –remarkable by his mechanized structures -, but the multiplicity of aims from which they individually lack, is what distinguish from them. Kinetics fulfill in the Cuban sculptor a meaning and emphasis core function to his thematic proposal:: the eros as a cathartic game, the body as a space project. Themes developed by no one, or not touched with the easyness, the humour and the phantasy he does”... (Pedro de Oraá, from his words to the catalogue of the exhibition Sexinética