In recent years, Juan AYESTA has made some forays into the field of sculpture. This is a consequence of the natural development of his artistic practice, since in painting he had been experimenting with the third dimension for many years, going beyond the limits of the two-dimensional pictorial support.
With a formal plastic journey between abstraction and figuration, the artist has moved for his personal artistic search and also in response to specific demands for sculptural projects. Which has led him to explore various paths, materials and processes: wire, concrete, cast iron and cast aluminum.
In the latest and recent sculptural works, the artist has continued working on the human condition, representing the human figure in moments of reflection, stillness or also dialogue between figures, developing a set of pieces of domestic dimensions, executed in cast aluminum. . It could be said that these works are part of an evolutionary series that is born from the works and reflections around introspection.
One of the characteristics of this series of pieces is that each of the sculptures is a unique piece, since the artist's original work is destroyed in the process of casting the model.
An open commission of sculptural work serves the artist to develop his creativity and as an opportunity to explore new paths. On this occasion, the sculpture is executed in cast iron, decided by the artist, being the first work he has made in that material and process.
The result, called ARA, is a sculptural group made up of two pieces 3.5 meters high and weighing four tons that dialogue with each other. Of a synthetic figurative nature, the sculpture is a hymn to Introspection, that inner look inherent to the human being, which serves as an allegory of the last stage of life.
In response to a sculptural project commission and with complete freedom to create, he has the opportunity to test and experiment with materials with which he has never worked. This is how concrete appears for a permanent open-air sculptural work.
The fruit of this process materializes in the sculpture FHORMAK, a set of thirteen independent pieces of reinforced concrete, shapes superimposed on two levels on a wall, with a length of sixteen meters and weighing five tons. A work of abstract nature, which conceptualizes and highlights the evolution of human organizations, through the visual dialogue between dynamic organic forms.
After some first trials, in 2016 he made some first volumetric approximations with wire, taking the human figure as a reference, since in painting it is not a subject that has motivated the artist to create.
Later, he also uses annealed wire to experiment with the three-dimensional movement of the line in space, in what he calls “sculptographies.” Some clearly conceptual pieces emerge, of an abstract nature, where the artist measures himself with the dynamism of the space delimited by the line, while reflecting on the light and inert.