(Spain) *1924 in San Sebastián; †2002 in San Sebastián
At the basis of Eduardo Chillida’s work is his notion of the mutual interpenetration of air (or space), and matter. He himself understands sculpture as a ‘function of space’. His works are abstract, avoiding any direct references to figures or objects. At the same time, they are closely related to elements that are basic to our visual perception, testifying to the nature of materials, structures, mass, volumes, and their own limitations. Although there is nothing human-like in its appearance, the work that can be seen in Bad Homburg touches on a fundamental aspect of human experience: hugging, clasping, holding. It communicates stability, fixity, and a sense of security. The steel seems to nestle in, bending in an organic, almost loving way, embracing itself. The sculpture stands on its own base, and branches out like a tree. At the same time, it seems as if two parts in absolute harmony want to unite as one. Fullness and the void, pulling apart and coming together: the essence of the work shown lies between these poles.