Contemporary Art And The Works Of Juan Bordes

Contemporary Art and the works of Juan Bordes

Introduction.

In order to know the character of the work, intentionality and in conclusion its iconography must know the intentions of the artist, Juan Bordes comments from his own website that the heads that sculpt are the synthesis of time, which compresses and reflects old age. It is not the first time that he works from this perspective and in fact he has lived his career until 1987 in two aspects: very Spanish heads and face to face. 

Developing.

Two exhibitions that have ended as a time trip. Since 1985 he affirms that he returns to abstraction and that he relies on the free figure to express his contemporary ideas and make this a container of ideas and shroud of his intentions and intuitions, has a clear intention of exaggeration and prioritizes the difficultyBetween the balance and understanding of his works. The fascination of misunderstanding is its key tool and not only in this.

In its anatomical sizes where the intention to humiliate beauty is clear through the exaggeration of the muscles and the appearance of submission. The strength and great monumentality of the proportions they hide and are victims. Recognizes from his thesis that the intention of urban sculpture is hidden in its location. That is, its environment and its little interest in the proposal of mobility of Leganés’ work, (this topic will be developed later at the point).

Under a more personal point of view we can refer to this work as a criticism of the established canons by living not only the volume, but with an estimation and sensitization experiment of gaps through the sculptural study, removing the value of the latter and prioritizing inthe spaces.

The heads are on pedestals contrasting with modernity, the pedestal elevates the work and its value, giving it a more important place, but in turn it does not consider it part of the work, but as a hierarchy presentation so that the viewer observes it fromdistance. Ensures a hierarchical transition between the contemplator plane and the upper universe of sculptures.

Its iconographic power from 1979 focuses on a figurative, mimetic language, always creating from human anatomy and through Greco -Roman styles and prototypes of Greek classical mythology. His influences were Miguel Ángel, Celinni within classical art and from a more Renaissance point focuses on Canova, and Rodin. Always taking into account the work of autonomous art, and dimensioning it about the possibilities of ridiculing the sublime through its social function in monument and public sculpture formats.

With respect to the importance of heads and their monumentality, it affirms us: in these bronchneal heads it encourages the great spirit of traditional sculptural art, the greatness derived from its divine role in expression of Baudelair, placing ourselves before realities that, after allThey are not earthly. In that same orientation Teófilo Gautier was wondered: what can sculpture without the gods and heroes of mythology that provide plausible thematic and formal pretexts?

Conclusions.

All sculpture inhabits the classic figure, typical of the Olympics. Something that contrasts with our contemporary world, likes to highlight the pictorial differences that the materials create, without ignoring their constant changes due to the passage of time, an important factor that constitutes the full value of the work;oxidation, and skate. In constant interaction with the architectural and environment elements in which they flow and that come to light in their gaps from the five steles of the head to their tricks. It is characterized by being an effective artist who with few materials manages to order and question large spaces.