(Traducido por Google)

The perception of space and time implications has always been one of the recurring areas for reflection.

Since the emergence of cyber spaces, traditional notions have faltered leading to new techniques also

proposed.

These spatial problems, would be constituted as a place to reflect on the built environment and imagined

spaces. No space is itself a value, it is the transformation dialectic between work and place. The work

transforms the space and gives place and character of the place as a significant space transforms the

content of the work.

Each artist and each work brings a sense of space implicitly differentiated. These different ways of

understanding the world, which space and images are merely samples. Fact and fiction, illusion and physical

presence are some of the facets that should display sculpture, contemporary art, goading the imagination

and intellect of the viewer.

All artistic media have a place in space, but painting, sculpture and architecture, are works that once

completed, have a permanent state of existence. The sculptures also have a dual reality, are images and

objects at the same time create an intimacy with the things of nature, the human body, lie on the floor and

betray an affinity that hard to miss.

The higher degree of efficiency that can reach a sculpture, is when they are fixed in a location that is affected

by its meaning and, which in turn determines the work, reaching their maximum when monumental exterior,

as would be the case of Michelangelo’s David.

The main value of a sculpture is its condition of physical object that shares the same space as we who live

with us and reflects its interpretation. Their presence leads us to physical contact.

Sculpted objects share the nature of the materials used and the impregnated these have different

connotations.

Pliny tells us that he used to use clay pots to offer libations to the gods because mud reveals thoughtful

people «indescribable generosity of the earth.»

A sculptor Henry Moore and shows the affinity between humanity and its origin and natural habitat,

highlighting the wood grain and representing the human figure in ways that result in the growth patterns of

the trees.

There is a wide range of meanings dependent on the material selected and the use thereof. Those who

aspire to immortality and those who are deliberately fragile, more recently used as enemies of the permanent

The manipulation of materials can never go dissociated from the artist’s aesthetic purposes, or mood. The

choice of a particular material and encloses itself expressive intention and inevitable the moment. But in

addition, the materials, even the coarsest, the simplest and ephemeral, have been conceptualized. As Valery

said: «The modern world is going to be built in the image and likeness of the human mind.»

I think one of the existing premises to provide an artistic object category could not be left to chance

spreading remains though these are charged a certain intention and are within artistic circles. It would be

necessary that the ideas

and materials as if they really were manipulasen senses. Only in this way could make a work of art.