Exclusive Interview with César Orrico, 1st Prize Winner of the Yasha Young Projects Sculpture Award, 2024 Beautiful Bizarre Art Prize
Spanish sculptor César Orrico seeks to represent the depth and beauty of the human figure based on his personal philosophy of life. The human body becomes an object of art in which movement and eloquence are based on a thorough knowledge of anatomy and a powerful eye for composition.
His sculpture Bosque was awarded 1st Prize of the Yasha Young Projects Sculpture Award of the 2024 Beautiful Bizarre Art Prize. Based on the solid foundation of the classic canons of sculpture, Bosque exudes a sense of ethereal sensuality and dynamic grace that exalt the splendour of the female figure.
Medium & Dimensions:
Bronze, 67 x 40 x 35 cm
Your exquisite statue Bosque won the Beautiful Bizarre 1st Prize Yasha Young Projects Sculpture Award. It seems reminiscent of the Art Nouveau period. What inspired this piece and your work in general?
My statue Bosque represents the meditative attitude of the figure and introspection as reflected in her face. The yearning for spiritual transcendence is perceptible in the weightless nakedness of her body, which appears metaphorically suspended in a world where nature and the human being come together to form a perfect symbiosis.
I am inspired by absolutely everything, I cannot pin myself down to any specific art historic period. I am a person who has always been interested in the arts in all its forms; music, literature, dance, theatre, photography, etc. Furthermore, I am passionate about archaeology and history. I find the rites and customs of ancient cultures and the connections between societies from different periods fascinating. Whenever I have the opportunity, I travel to remote countries, and it is at those moments that I find the most inspiration. That’s the reason why, in my work, I interpret time as something cyclical.
Tell us about your sculpting methods, choice of materials, and the application of finishes.
The material to create the model depends on the size of the sculpture. I normally use wax to create small sculptures which allows for more definition and expressiveness. The larger sculptures are usually modelled in plasticine, as this allows me to work on several sculptures at the same time and at different times without worrying about their maintenance, something I couldn’t do using clay.
My finished statues can be cast in bronze, sometimes combined with wood, and/or other materials such as composites or artificial stone. I like to work with different materials as each one brings different characteristics to my work. I am always open to experimentation and research in my projects.
To cast my sculptures in bronze, I work with various foundries, depending on the size of the sculpture and the finish.These are processes in which the artist has to delegate, since bronze casting is an art in itself. However, I know all the steps and stages that are carried out in the casting of my work. Some of these stages, such as the final wax or bronze finish, I do myself, and I supervise the rest of the processes so that the final result of my sculptures is as desired.
All my bronzes are patinated with different types of acids to achieve different colours and finishes. I usually do the patinas myself as I consider this an important process which allows me to further define how I like my sculptures to look and personalize them with my own style.
Tell us about your studio life – working hours, deadlines, and whether you handle everything yourself.
I like to be very close to my studio. I work every day, and most of those days are fairly long ones. Furthermore, I don’t have a fixed schedule because, luckily for me, art is not a job – it is a necessity. I really like working on my sculptures, and they tell me when I need to stop. Something I have learned over time is to know how to let the work rest. If I think I am stuck at one point and my work is not flowing as it should, it is because I have to stop and continue at another time.
Deadlines are always stressful and inconvenient, but in my opinion, they are necessary. They help me focus on my work and manage my time based on the project I am working on.
Depending on the moment, I sometimes have a studio assistant. There are periods when I have to attend to aspects that are peripheral to creation because I am preparing an exhibition, a delivery, etc. I try to handle this in such a way that it does not interrupt my productive hours of creating. Luckily, for some time now, I have had people I trust who help me manage some of these aspects and who make it possible for me to spend more time in the studio.
Do you use models to translate your visual ideas?
There are times when I use a live model in the early stages of sculpting, but I often rely on photographs. Later on and throughout the process, I tend to interpret the pose and apply my knowledge of anatomy to emphasize the movement or posture that I find most interesting.
What are the most important aspects of your work to you?
Everything is essential in the end, everything in the process of creating a work is decisive and every detail counts. I think that generating the main idea before starting to physically create a work or a series of works, is one of the most significant creative moments. Sometimes, during the process, the work of art takes you to unexpected places and that is beautiful.
The most exciting part, for me, is the moment when I see the finished work. I think it is the moment when I perceive the scope of something created by myself – it is an indescribable moment.
What do you want the viewer to feel when seeing your work for the first time?
I think it’s essential that the viewer takes enough time to see and savour the work. I am interested in creating sculptures with a certain enigmatic character. Likewise, I try to establish a scenario where the work can dialogue with the viewer and allows for an intimate moment of reflection.
Your sculptures emanate a lightness, a flowing movement, a serene stillness of the human figure. You combine technical skill with elegant aesthetics. Tell us about your intentions.
I aim to emphasize the serenity in the faces of my sculptures. I like to think that my figures look more inward than outward. They are concentrated, in a trance. They do not question the viewer, but rather invite the viewer to join them. What interests me most is that the person who sees my work feels reflected in it. That the viewer can, in part, connect their own world to the idea represented, transferring this experience to a shared space of reflection between the work and the spectator. The search for beauty in my work is specifically used as a means for this connection.
You’re having a lot of success, deservedly so. What are your future goals?
My goal is to continue creating, it is my vocation, what I love to do, and what makes me feel good. I am lucky and pleased that my whole world revolves around art. I don’t usually think too much about the future, I focus more on improving every day and whatever has to come, will come.
Why did you enter the Beautiful Bizarre Magazine Art Prize?
I have known Beautiful Bizarre Magazine for several years now and like their publications very much. The Beautiful Bizarre Art Prize is a competition that showcases artists with very interesting work, that is why I thought it would be a good idea to participate to make my work known.
What do you feel you have gained from this experience?
The promotion of my work on social media and other digital media has been very prominent. In addition to the incentives that come with the First Prize of Sculpture Yasha Young Projects, I would like to thank the people and organizations that support this competition.
Would you recommend it and encourage others to enter? If so, why?
Of course, it is a fantastic opportunity to promote your work and reach additional viewers through the extensive influence of a renowned art magazine.
Tiempo by César Orrico
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