David Rodriquez Caballero's constructions are articulated in space and question two of his principles: the combination of formal geometric elements and texture experiments, as well as the importance of light. These are very mental works, very built that have a strong impact in the field of sensations.
This exhibition gathers some forty works. All were created in the last three years. Since the artist turned to large-format sculptures in 2011. These small aluminum walls, these mirrors of gesture scratched between Paul Klee and Cy Twombly, which started as a painting, finally needed to recover the public space, that is to say the monumental sculpture. Here and now, we have the aluminum reliefs (butterflies, totems, masks or triptychs) as well as a very recent series of works of tapered curves built or put in place as Marañas (Tangles), as Clutters or Jungles (the latter are made of stainless steel). These constructions - some are welded and others hung - are suspended from the masts and vibrate to the most subtle movements. Their intent, however, is very different from George Rickey's aesthetic. Some works have added color to enamelled baking paint; DRC tries to reconcile the minimum with individual expression, poetics with frigidity. In his work, there is a kind of indignation against the formal miseralbilism that hopes to surpass the functionality of an object by giving a helping hand, a gesture of poetic reverie or a poetic illumination.
The DRC's sculptures and reliefs developed through the appropriation and re-articulation of different trends from minimalist and constructivist abstraction to Ellsworth Kelly's pointed abstraction, without ever losing the poetic sensation, the cleanliness and fragility, the mirror and the delicacy that the metal can have. The gesture and the color, the subtle finishing, speak of a poetics of silence like that of Agnès Martin, and a poetics of the fold like that of Dorothea Rockburne.
The DRC sculpture is a sculpture of compositional balance (folds); it is at the same time a tactile sculpture that has a complicity with the material. In many ways, the gestures made of aluminum, brass or copper encourage the viewer to go through the work to see the infinite variations produced by light, texture - by a hand that sweeps and pulls light inside the material. . It is a fusion sculpture: balance with tension; the structure with elegance and asymmetry. They are sculptures of metal folded, crumpled or superimposed that could be read as a paradox of gravity and movement.