Andrés Izquierdo with one of his pieces
Andrew Left belongs to a new generation of designers whose roots go deep into transversal, multidisciplinary, disruptive and engaged with the environment. They are a wandering clan whose dynamics fit a nomadic life
His curiosity about matter shapes a rebelliousness channeled through a new way of doing: radical craft. Andrew works with hands each idea and each piece, letting the final function be defined by the Username . He conceives creation as a way of seeing, of communicating, of feeding, of seducing each other day by day.
When he traveled to New York two years ago, he knew where he had to go. The DAY Beacon , on the Hudson, preserves the works that the institution acquired and financed over the years 60 and 70 in the naves of an old industrial building.
Andrés works with his hands each idea and each piece
Andrés was aware that the facilities of Walter de Maria Y Michael Heiser they did not have the expressive power of their projects of LandArt. But he was not only looking for the echo of those monumental pieces, but the relationship that volumes established with the observer.
around him to Madrid he wanted to answer the questions that those works had generated. The space was there: a house with a demolition date in the Prosperidad neighborhood. Together with Pablo and Álvaro Ferreira, he founded the collective The thing .
The project had as its axis a patio delimited by semi-ruined walls. Three circles were defined. The first, excavated, was conceived as a negative form, a non-circle. The other two were made up, respectively, of debris of the building itself and hay bales. The intervention, which was part of the Madrid Design Festival , staged a return to rural within the city, to the roots of a neighborhood that welcomed day laborers from outside the urban environment.
But Andrés' itinerary did not lead to the great spaces. His hours in DIA had marked a path that led him to the privacy of the objects. Thus was born a cube perforated by a cone and a plaster rock on which, in negative, a circle is drawn
Circle and non-circle
In his last work, metatarsal, proposes a bank . Its phallic volume is contradicted by the cavity that opens at one of its ends. The symmetry is broken and the piece seems to want to deny itself and re-enter itself through this hollow.
The tension is affirmed in the reference to the body, to the physical, to the sexual , transformed by altering the scale. The object holds the mystery of the colossal fragments of Roman statues. The purity of white speaks of the plaster models of the classic works.
But it is not just a sculpture. Andrés wants his pieces to be used, to interact. could be a seat , a place of conversation, exchange. The work influences the space and it transforms with perspective, with light and touch; it becomes dynamic in the evolution of the gaze.
In Metatarsal, the artist proposes a bench