Weaving Dialogues

The sequence in the way of drawing for sculpture is very important. Due to the changes that occurred in the 20th century, from the formal geometries that come from trigonometry and Euclidean geometry, all based on planes and angles, led avant-garde artists such as Marcel Duchamp, Jean Tinguely, among others, to propose the need for drawing to be free of angles and, by bending the forms, to create a whole concept that has to do with organic geometry. The most profound discussion is whether this comes from nature, from natural forms, from microscopic forms or from imaginative forms.

The line, in this sense, worked by Alexander Calder, led him to consider sculptural drawing for the first time. He did this by hanging his works from ceilings or sticking them to walls to fundamentally challenge the concept of gravity. Beyond Calder's economic restrictions, this innovation allowed the sculptures to float and move with the wind or gravity and inspired Duchamp to name and designate these works as mobiles.

When we look at Jorge's sculpture, what we see is a historical continuation of organic drawing that relates to the sequence of lines. Although the line itself does not exist, it is the eye and the brain that define it. So, when we see these forms, we tend to construct organic drawings in a cerebral way. Organicity in the world of the 21st century is fundamental because it allows us to understand that the universe is not geometric and that the way to connect deeply with it is through the organic. And that is precisely what Jorge's drawings represent in his sculptures. Those wefts, those braids, those intersecting warps help us visualize the same fabrics that, although we do not see them in the cosmos, represent gravity itself and how it curves. The drawings are those curves brought to our world in some way by the imagination, and with the skill of the craftsman, of the artist who builds all that micro and macrocosm, they come together in a single universe. Jorge has established a back-and-forth dialogue. On the one hand, there are the materials that speak for themselves. And on the other hand, the dialogue that is established between the artist and these materials. The use of construction materials allows us to understand, in a way, how complex civilization and large cities are: what is apparently waste is reused, but now with another purpose: to create a work of art. The artist recovers them and allows us to understand these dialogues about how civilization has developed. These dialogues have two directions: what the material represents for its original use and, today in its reuse, what the artist wishes to express to others.

"Weaving Dialogues" is a collection of figures built with materials such as wire, wood, cement, resins, paper, which are connected to each other without necessarily forming a cohesive whole. Each work, by itself, builds a unique atmosphere. The need to go back and forth in time allows the observer these dialogues between artists such as Jean Tinguely, Alberto Giacometti, Alexander Calder or Marcel Duchamp in a contemporary context. In the end, the other dialogue, that of us as observers, to discern that common material in the use of our homes, if we see it in the streets, or if it simply passes the electric current and lights up our house; in this case, their works illuminate the soul.

Master Miguel Peraza

Curator-Sculptor