Los Ovoides en la Escultura. Una Propuesta Personal

Erika Adriana Alonzo González

doi:10.29057/ia.v9i17.6261

Authors

Erika Adriana Alonzo González Universidad Autonoma del Estado de Hidalgo https://orcid.org/0000-0002-7531-8908

DOI:

https://doi.org/10.29057/ia.v9i17.6261

Keywords:

sculture, ovoid, transformation, organic shapes

Abstract

The sculptor manipulates, he or she consciously handles the plastic elements of his work (material, form, concept). He fragments, repeats, models, intervenes at will to its maximum harnessing. In this paper, the outcome of the bachelor’s degree project in Visual Arts at the Autonomous University of Hidalgo, México is presented. Brancusi, Hepworth and Goldsworthy are sculptors who share the ovoid in the allegories of their artwork. The ovoid forms present in the sculptural proposal here, aim to represent a metaphor of the transformation of organic bodies and the susceptibility of entities; as well as the exhibition of their journey through time and space, which sometimes modifies its original appearance and its inherent characteristics.

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32%

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11%

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Articles accepted

49%

33%

Days to publication

145

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Editor & editorial board: profiles
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Publisher: Universidad Autónoma del Estado de Hidalgo

References

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Goldsworthy, A. Cita traducida al español de MORNING EARTH 2004-2007. En: http://www.morning-earth.org/ARTISTNATURALISTS/ANGoldsworthy.html

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https://www.mdenisecostello.com/2013/03/31/beginning-of-the-world-by-constantin-brancusi/

http://thechroniclesofacreep.blogspot.com/2010/04/barbara-hepworth.html

http://www.domaine-chaumont.fr/es/andy-goldsworthy

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Manrique, Jorge Alberto (2000). Tres décadas en la escultura 1920-1950. En Instituto Nacional de Bellas Artes, Escultura Mexicana. De la Academia a la instalación (pp.111-113). México: Océano.