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Gran
Canaria, an island known for its touristic recreation, is also the place where
the sculptor Martín Chirino (1925) originates from. A visit to the Castillo de
la Luz (Castle of light) in Las Palmas will provide you with an overview of his
work. Since March 2015 this castle houses the Martín Chirino Art and Thought
Foundation dedicated to showing and studying the oeuvre of the celebrated
sculptor. The building itself is restored and modified to be an tranquil
backdrop for Chirino’s forged iron artworks.
Castillo de la Luz with Atlántica IV, forged iron, 1987-1988.
Martín
Chirino got his first education in working with metal from his father, who
worked at a shipyard. With a scholarship he went to Madrid to study sculpture
at the Real Academia de Bellas Artes de San
Fernando. He finished
his studies in Gran Canaria and set up his own atelier. During this time he
came to know the Canarian Aboriginal culture, which became an important source
of inspiration to him. A good example of this influence is Chirino’s interest
in spirals, to be found in many of his works on paper and his sculptures. For
Chirino it is a symbol of power, tension and movement.
Martín Chirino, El Viento, forged iron, 1968.
Martín Chirino, Alfaguara, forged iron, 2000.
The
spiral is also found in Chirino’s Santa
Teresa, but this sculpture is a little more intricate. One side consists of
a pulled out spiral, though walking around shows this spiral is actually
constitutes a hood for what appears to be a face. The title of the work
confirms this explanation and adds a religious meaning to it in the form of
Saint Teresa, a Carmelite nun who wrote about her ecstatic encounter with an
angel. This piece and some others are reminiscent of sculptures by Constantin
Brâncuşi (1876-1957), whose work Chirino probably saw on his trip to Paris in
1952.
Martín Chirino, Santa Teresa, forged iron, 2007.
On the
same visit to Paris Chirino was also acquainted with the work of the Spanish
sculptor Julio González (1876-1942), which also became
exemplary to his own sculptures. Chirino’s Herramienta
Poética e Inútil (2) among others shows González’ influence quite well.
Martín Chirino, Herramienta Poética e Inútil (2), forged iron, 1956-1957.
Martín Chirino, Momentos II. Reflexión sobre el Guernica, forged iron, 2008.
Forging
iron seems like a more laborious task than for example casting bronze and yet
Chirino makes it look like it takes him no effort. Chirino gets the utmost
expression out of his medium, while using the smallest amount of it possible. His
iron sculptures seem light and elegant, where heavy and coarse are
characteristics usually ascribed to the material. This contrast makes the sculptures
a surprise for the eye. Fundación Martín Chirino C/ Juan Rejón S/N. 35008 Las Palmas de Gran Canaria www.fundacionmartinchirino.org