Chillida never belonged to the white light of the Mediterranean. His skin, his ideas and his imagination developed in the blackness of iron before his hands began to speak and his art began to expand in the corners of the earth. The Madrid gallery Guillermo de Osma, which since its inauguration in 1991 has made more than eighty exhibitions dedicated to modern and contemporary art, in collaboration with the Eduardo Chillida Pilar Belzunce Foundation and the CarrerasMugica gallery in Bilbao, collects some of the works More personal sculptor in his new exhibition dedicated to one of the most international Spanish artists of the second half of the twentieth century. The exhibition, which coincides more or less exactly in time with the reopening of the Chillida-Leku museum located at the epicenter of the wild nature of Hernani, is home to some 30 pieces, including sculptures that highlight the high quality of their conversations. works, collages that emphasize his constant renovating character, drawings that show his sensitivity for the hidden detail of the hands, which he saw as "the most multidimensional place of the body" and whose lines trace, as his son recalls, with such a softness that, when he saw him, it seemed that while he was delineating even the birds were silent and his famous gravitations of paper, where the superpositions of this material become a mere transmitter of messages, giving way to forms capable of acquiring in an almost magical the condition of sculptural element.
"It is a project that has five years of work and whose main idea is to gather a small anthology of the artist. As gallerists, our ability to collect works is obviously not the same as that of a museum, but we managed to compile works that have an essentially collector character, "says Guillermo, art historian and owner of the gallery. Stone, alabrastro, steel, wood, marble, plaster or terracotta. Few materials resisted the creative intervention of Eduardo Chillida (San Sebastián, 1924-2002) to end up becoming dialogues with time and space. De Osma highlights that conceptual work of the Basque sculptor, capable of adapting the physicality of the primal element to the discourse that that element inspired him. "In the end, all his works create a different language depending on the material with which they are made," he adds. The whole of the sculptural work that can be seen in the exhibition, has a very physical character. These are constructions that arise from the effort and from that very conscious, industrial and avant-garde idea that the elements come from the earth.
The bronze sculptures tell a specific story, the drawings with ink engage in a different conversation or the collages with papers demand a different breath. In the catalog produced by the gallery on the occasion of the exhibition, the art critic Germán Huici highlights: "Stone and iron. Mediterranean and Atlantic. Noise and silence Movement and stillness. Persistence and change Modernity and antiquity. Word and matter Culture and nature Plato and the birds. The enemy twins go through the imaginary of Chillida in an eloquent and serene tension ". An art, that of Eduardo, that does not cease to bounce incessantly, among the echoes of the expanded beauty of the earth.