Jorge Egea

associate member

Based in Barcelona (Spain) but often collaborating in the States, mostly in California. The presence of the body and the search for beauty through the human figure has have been the main concepts in the development of my artworks. From my initial contact with clay as a fundamental medium for creation, I believe that at the base of every art work there is a personal relationship with the material, a search for the origin of art itself. The material is like a screen; simultaneously the entrance to the materiality of the image but, paradoxically, also its limit: the padlock that closes its outline. The corporeality of the sculpture is a primordial experience that allows us to speculate, seeking new forms, immersing ourselves in a buried vision, in which the gaze is hidden beneath the appearance of the matter. My works have no theme, the theme is the body, or beauty itself. The reference to the classical world, in a title or an attitude is only the track that connects with all the classical world, which defines us as the West. They are works that convey harmony, and they want the public to connect and meditate with their own natural beauty. They are sculptures that want to capture the life of the models with whom I work, as if it were a body portrait, since I do not seek to repeat canons or copy what antiquity did, but to rescue the classic sense of beauty in the bodies that I see around, that allows us to abstract from the concrete and transcend from the corporal to the spiritual. I believe classical is always a revolution against academical art (that is its degraded version) therefore in a society like the current one, in which we have had all the experiences of the avant-garde , the conceptual movement ..., where there are economic, political and social convulsions, classical art continues to be a revulsion, a rupture even again.

associate member

Jorge Egea

Based in Barcelona (Spain) but often collaborating in the States, mostly in California. The presence of the body and the search for beauty through the human figure has have been the main concepts in the development of my artworks. From my initial contact with clay as a fundamental medium for creation, I believe that at the base of every art work there is a personal relationship with the material, a search for the origin of art itself. The material is like a screen; simultaneously the entrance to the materiality of the image but, paradoxically, also its limit: the padlock that closes its outline. The corporeality of the sculpture is a primordial experience that allows us to speculate, seeking new forms, immersing ourselves in a buried vision, in which the gaze is hidden beneath the appearance of the matter. My works have no theme, the theme is the body, or beauty itself. The reference to the classical world, in a title or an attitude is only the track that connects with all the classical world, which defines us as the West. They are works that convey harmony, and they want the public to connect and meditate with their own natural beauty. They are sculptures that want to capture the life of the models with whom I work, as if it were a body portrait, since I do not seek to repeat canons or copy what antiquity did, but to rescue the classic sense of beauty in the bodies that I see around, that allows us to abstract from the concrete and transcend from the corporal to the spiritual. I believe classical is always a revolution against academical art (that is its degraded version) therefore in a society like the current one, in which we have had all the experiences of the avant-garde , the conceptual movement ..., where there are economic, political and social convulsions, classical art continues to be a revulsion, a rupture even again.