Esther Gatón and Núria Fuster breathe with sculptures at the Patio Herreriano museum in Valladolid

Fuster gifts Aire que yo breathewhere air and breathing take place; Gatón, in turn, works in the breathing space Whoa, whoa, whoa, I’m a light bulb. Breathing and articulating form are some of the abrumador skills worth using in situ.

Your works begin with a similar sensibility: writing as inspiration. For Fuster, who has been writing poetry for 25 years, it functions as “a space of reflection where I return to each moment when I need to rest, to understand, to reset”; poetry reveals itself as a “textual sculpture: on condensation, on verticality and on the venting of feelings that are very close to my schultural practice, it is the same effort, the same emotion”.

In this definition, there is a factor that helps you separate clubs from your work: condensation, verticality and air. I was pregnant once. Gatón puts it differently, more obliquely, but just as medullarily: “Writing and reading is something I do constantly, from small to large, with compulsion”. After all, the word does not explain the statue, but the companion and embrace. Like the air that literally and symbolically crosses both projects.

Please take this opportunity to meet three teams of united workers on common terms: they are Kinetic installations that “adopt bodily behavior such as movement or breathing”. In the Capilla, a large statue is isolated and disinfected by “the same air we breathe and share when we see each other”; in the room 9 dozen pieces with plastic bags through electronic mechanisms; and in the enclosure, the factory syllable, compressor, air tank, valves, and pipes activate the circuit that holds, enables, and enables you to breathe.

“If you told me to translate into something, it would be into a sculpture. Physical contact with the material is something indescribable” Núria fuster

On the other hand, the display appears as one unprecedented coexistence in media and formats: bajorrelieves hechos s arcilla pro muñecas, wood sculptures with stakes and oil painting. More than a presentation of works at the table, I want to bring the room closer to what happens in the studio. “I want to reveal a space closest to what happens in my studio, where everything connects and breaks down. We will work on the space, responding to its shape, very tall and rectangular. Commissioner Rafa Barber Cortell and we think that the room must be closed and loses its center” explains the artist with passion.

For this reason, you will find so many revelations that you will also learn, each time in your own way, let’s read the language of the universe. Read more about our beginnings. During a meeting in Rome with Professor Alfio Mongelli, he revealed to her that sculpture was “serious”. In fact, he experiences it as a person with a deep identity: “If you tell me to convert into something, it would be a statue. The physical and dialectical contact with material, especially with metal, continues to be something indescribable, very exciting”.

Gatón reacts to his vocation out of insecurities. “I don’t know why anyone does what they do. You could say they met me doing it,” he says. But he followed to leave the question of generational understanding: to work with artists who also use installation, who have the same languagehe created contagions, shared affinities, forms of observation that operate “cases telepathically.”

Nombra and Julia Spínola, June Crespo, Rubén Grilo, Lucía C. Pino, David Bestué, Sofía Montenegro, Jorge Sartorre, Rosa Tharrats, Gabriel Pericás and others. From the beautiful description, in the plural mayestático, how everyone looks at the sculpture in general: “It seems that we encounter it not only in frontal form and with a rectangular container, but also orbiting, in relation to space. We work with its scale, weight, texture, materiality and movement, which generates red, shadows and reflections, like cruje, in these rhythms and adjacencies we connect to the propio sculptures”.

“Prices enable us to carry out processes for those we do not carry ourselves”
Esther Gaton

Meanwhile, both artists maintain a special relationship with the materials. Restore and recycle them, work with found objects, those that make “a connection, something that wouldn’t be connected without encountering it by chance”. He describes this hall as “a very physical, intimate, intuitive, emotional process.”

The North American philosopher Jane Bennett, whom Fuster remembers, describes it very well in her book Radiant matter: matter represents what it calls thing-power or “the power of things.” Encountering everyday objects means descending to a human being, so the scope is divided between people and things and experience a sense of materialistic confusion before what is happening daily before our eyes.

“I am more drawn to malleable and harmful materials that I can work with by handunfinished cases,” says Gatón, who prefers to talk about “found materials: muzzle arches, rams, foam, metal parts, phosphorescent paint, quemada.” They are interesting for their connotations and for the “little surprises they create when reading the data sheet”. These materials give form “another voice” and connect with everyday reality.

It is no coincidence that one lives between Berlin and Madrid (Fuster) and the other spent eight years in London before returning to the capital. What influence has remained in Spain in the production of your works? Para Fuster, Berlin looks like a revelation: a city where art lived “with a radicality” that permeated it and still maintained a “punk-industrial pulse”.

Gatón displaza la respuesta al idiom ya su forma de nomenar el mundo. More than that, he says, it was language that changed his form of work: its lexical precision, its structure, its need for clarity. in front of him Latin languages ​​appear to favor, hypothesized, greater subordination, a penchant for “disorientation and contempt”. The change in language, she says, has also changed the way she works.

At the moment when they both became visible, Esther was awarded the X Premio Cervezas Alhambra de Arte Emergente in ARCOmadrid and Nuria won, for example, the Botín beca or the Casa de Velázquez. Everyone says prices are gasoline. “I remember the Beca Kunstfonds in Germany – our Fuster story – three years ago: it was a complicated moment and the news moved me until I cried.

>>On the one hand I felt that I was saved; For others, they’ve renewed me to keep creating what I can’t stop doing, even if it’s not easy. It’s the experiences that support.” Gatón goes on to explain, “It is the helpers who have given the work. We allow ourselves to carry out processes that we do not carry out ourselves”.

Seno, además, entre ellas, mutual admiration. You’ll see something “much more sculptural than pictorial” in Gatón’s work, and I’ll admit he takes it “into a fascinating reptilian space.” Gatón, on the other hand, celebrates the rotundidad in Fuster: “I am enchanted by the rotundidad in Nuria’s works. I believe that her sculptures are once in a while hard and funny. They have an alien humor. She impresses me with her ability to present naked objects with gestures that in essence seem like someone fragilo. I will say that the work is haunted, and that is why we talk about it in silence, and it sounds, it represents something that we cannot see.’

In the hands of both, living, organic, round sculptures emerge, inhaling and exhaling forcefully. Núria Fuster influences the air we travel through; Esther Gatón, in the space that is my favorite place. Those who breathe the subject “into the air of our sea,” as my friend Guillén wrote.