Aitor Urdangarin Sculptor


Art Criticism  Aitor Urdangarin Sculptor











I have sometimes found in the steel shadow of the scultures by Aitor Urdangarin( Vitoria, 1969). The appealing flourish of their Gordian knots, the height of those sinuous lines which play in front of the sea, Cantabrico or Mediterraneo, or amongs the trees of the illustrated garden, or under other wings, in the airports from the displaced crowd. Those mysterious spellings are always transmiting in the wind, which flash in the blue or thin in the grey like strange elements, and at the same time integrated.

The look does not surprise; it has observed before similar or identical materials in the Alicia Larraín´s mazes, in the Roxy´s Paine´s torture trees, in the Luke Jerram´s wind harp, in the Kenneth Snelson´s modular configuration, in the  Richard Deacon´s nets of irregular geometries, or in the Andreu Alfaro´s infinite archs, it has measured the height of David- Goliat by Antonio Llena and also it has listened in the distance, the sound of that bended tree which sounds in Burnley ( Lancashire) rough by the wind by Tonkin Lou, in so many places, in so many creations...

No,  the vision cannot dazzle with so-and-so proposal because  having walked the contemporaneity´s diverse routes, it is not innocent at all: Or is it maybe?...

The main thing is that, although steel cylinders result close to the attentive look, Urdangarin´s shapes  are differents, sweeping, evasive, as if he looks for that fleetingness of the limit perhaps to feel the unlimited. It is then, in front of them, at the opportune time of astonishment, when the Vitorian artist´s sculptures demand prominence. Here, in these shapes that the light polishes, it is found the liberating ellipse, the subversive -  and at this moment- contemporary order that  sometimes and in another far time  countered Kepler with Galileo and illuminated Bernini. A passable gap so elusive that project the confidence in the trade and at the same time the disobedience of the creative, conscious drive conscious of being at the same time nomad and deep-rooted, in a combination which embraces both proposals: respect to the malleable material and to the controlled freedom in the perfectionist and impeccable execution, in front of the light´s game wants to reveal us and the shadow tries to protect.

Aitor Urdangarin is the owner of a work of art, a creation, which tries to avoid mimesis but also knows to extract from the gap of aloof creators, like Henry Moore, for instance, “”the principles of shapes and rhymths” or the “ subtle colaboration with the nature” that the universal Englishman will support. Aitor Urdangarin´s works, which have some of continuance, know earth´s different places´atmospheres where they have been admired, prestigious American galleries, in New York, San Francisco or Miami- to quote just some-, Munich, Milan, Niza, apart from more than twenty Spanish galleries Aitor Urdangarin works with for a long time; milestones, referents which assume a story and they complete far away from drop curtains, as the image is not enough and we know it, to fix a time, the art from right now does not fake, it does not already create the  illusory of the theater, it looks for the freedom inside the space where it lives, knows the matter and the gap, knows what it is about and listens with its hands, looks through them, knows about lack of understanding and about crossroads; reflects and talks to its environment and writes about the sky and about the ground with the shadow that the work projects, with the stable energy, with the strength of a language that it knows in front of which can be touched, and what is unachievable, impossible to explain.





                                                                                                                                   Efi Cubero

copyright 2024