AN EXAMPLE OF NEW SCULPTURE

Cesáreo Rodríguez-Aguilera

In reference to the current Catalan sculpture was said (Giralt-Miracle, 1991) which is experiencing a “boom” of new proposals that assimilate new concepts and materials and that, somehow, they offer a break with the previous tradition. And as a personal brand it it indicates among other things, the recovery of symbolic and totemic values ​​… passion for the job, working directly with new and old materials, and the revaluation of certain crafts in a process of extinction.

During my recent visit to Pascal Plasencia‘s workshop, I noticed how, after a long and thorough step by the experience of pluralism and splendor of modernity, we can arrive at a new figuration that evokes our “Mediterraneanism” without forgetting the expressionist force or synthesis post-cubist, some of the greatest sculptors of this century, well analyzed and understood by the sculptor, plus a balanced study of the dialectics of the sculpture of our time.

From his young age, Pascal Plasencia follows an intense artistic training wich today shows us aspects of a creative and firm personality. For new modern, as the philosopher Jean Baudrillard said, the past is all his own, because the future has arrived, everything is there, everything is already here. The supposed undefined progress are ended. Today we look back to the tradition without anger, and of course ahead.

The scientist  Faustino Cordón told us in the daily press, that in science, as in art and in any human activity, ignore the tradition (even trying to overcome irreversibly) destroys the freedom of creation. After reading it seemed a very appropriate slogan for the work of our sculptor Pascal Plasencia that whom I had just seen in his study.

Cesáreo Rodríguez-Aguilera
Art  critic
Barcelona, ​​January 1992

Text translated from Spanish, published in the exhibition catalog of the French Institute of Barcelona.Spain (February 1992).

 

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