Jesús Curiá / Modus gallery

Por: Galeria modus

El artista español trabaja con maestría desde hace más de 25 años la escultura, mediante la cual nos introduce en su mundo onírico. El trabajo de Jesús Curiá nos transmite una sensación de profundidad, de tranquilidad y de un equilibrio certero. Un universo paralelo se abre ante nosotros, con personajes híbridos, y con una morfología humana que se fusiona con líneas rectas y formas geométricas. Su sensibilidad por el espacio y por el mundo que nos rodea, le permite moldear obras de una manera armoniosa, creando la sensación de que los personajes están suspendidos en el aire.

Las columnas de Jesús Curiá se caracterizan por el contraste que se crea entre la densidad del bronce y la ligera representación de los personajes.

Encontramos en sus obras niños pendidos del aire gracias a un hilo invisible, o a una mano protectora que no los deja caer. En medio del juego, estos niños forman una columna que se alza hacia el cielo, con una gravedad inexistente. Encontramos una perfecta combinación de poesía y dulzura que nos invita a un viaje lejano a tierras inexploradas.

Cada columna es única, la composición y la posición de los personajes se ensamblan cada vez de manera diferente por el artista. La pátina, que también varía de la misma manera, viene a resaltar estos seres ingenuos en constante equilibrio.


Jesús Curiá / Modus gallery







Marta Sanchez Luengo / Modus Gallery

The most remarkable thing about Marta Sanchez Luengo's work is her scope of the human being through different realities. The study of the human figure and its context play the same role on her sculptures. The creation and use of scene is always constant on her work, and it becomes the canvas for referring about the complexity of the circumstances the human being is involved, integrating social-urban with intimate-personal life.

Particularly, the Travel thematic is very frequent in her work


Marta Sanchez Luengo / Modus Art Gallery



By Bob Lansroth

Hendrik Czakainski / Modus Gallery

Displaying his signature work made from the bird’s eye view point, the artist conveys his abstract vision of the urban world around us. The Berlin-based artist explores the juxtaposed concepts of order and chaos, forming a unique vision of aesthetic through his large-scaled works. Reminiscent of google map views (which the artist uses as an assisting tool to form certain configurations), his artwork displays a distant perspective which provides the viewer with an impersonal, yet highly detailed and thought-provoking vision.

We asked Hendrik questions about his art, how he perceives himself and his work, we discussed the messages his projects convey, talked about his latest exhibition and other artwork. So, enjoy the interview we had with the artist where he gave us a glimpse into his creative process and personal insight of his art.

Since artists and their work are usually left for the critics and the audience to be interpreted, judged and scrutinized, the first question would be how do YOU perceive your own work and in what way would you define it?

HC: My work as you can see it today – the different shapes, combinations and use of material – is the result of a development that it has been passing through during the last couple of years. I have been experimenting with different kinds of materials, combining formations of surfaces and struggling with finding a way of uniting material, form and content. In my pieces I am trying to display fractions and glimpses of phenomena that occur at the clash of globalization, industrialization and demographic developments by translating them into the forms and material I have found over the years. Considering this, the content of my work could be related to sometimes catastrophic conditions (if you think of slums or massive industrial sites and the pollution that comes with it) that I try to convert into pieces that –despite of all that– display some kind of beauty. Maybe you could say that my aesthetic is always trying to walk the thin line between devastation, destruction and the beauty of, for example a perfect square, an interesting material surface or a coherent composition. It is both difficult for me to find the balance between these poles and propulsive/stimulating/inspiring to oscillate between order and chaos, norm and deviation, the concrete and the abstract. It is the tension between these antipodes that interests me most. When I look back at the pieces I produced over the last couple of years I am honestly surprised because I can now very well retrace the different stages of development that my work has lived through. I think it is this process that leads from one thing to another, driven by its own logic, that I find most fascinating about making art.

What inspired you to attain such a distant perspective of a bird’s eye view in your art?

HC: Attaining a distant view to the objects I am displaying has been part of my work for a long time. It is motivated by the interest in my own allocation. The distance allows me to consider my position in relation to the surrounding environment. It offers a different way of discovering places and finding spots and gets us to read structures from above – be it of landscapes or urban areas. Crucial to this were travels to the megacities of South Asia. People often think that I am sort of copying views of particular areas via google maps, but in practice I am only using these tools to study certain configurations or to collect inspiration concerning shapes and forms. The fascinating thing about the human cognition is that we can achieve the view of a large distance without even physically attaining it. It allows us to see things we could not see from the ‘human perspective’, exposes structures and correlations.

Some of your work displays a rather post-apocalyptic tone with a sort of a looming chaos, is this something that you expect to happen in the real world?

HC: No, I do not believe that we are heading towards some sort of apocalypse. There will always be problematic developments, things that don’t comply to certain rules and regulations, that lay outside the norm. I believe that mankind is always searching, eager to find solutions. Not always in favour of all that lives on this Earth. The things that I display in my works are rather forms of necessary evil, they are consequential results of the developments the human species has lived through during the last centuries. What I want to express with my work is to some extent the opposite of the apocalypse: amongst all the destruction and chaos I can still find something intriguing, considered from the outside perspective of a birds-eye-view, you could simply talk about phenomenon of cause and effect. Where there is order, there is chaos, where there is norm there is deviation that bears systems of their own inherent logic. My artistic approach and the distant perspective allow me to carve out fascinating aspects without denying the evil ones.

The title of your latest show is Urban Investigations, so after a thorough investigation, what did you find?

HC: The title of the show derives from the character of my approach to the subjects I am dealing with which could be described as investigative. So this has to be understood rather as a motto than as a description of results. I understand “investigative” as the thrive to search for answers. I am not particularly interested in the results it might bring but in the engagement it means. It is a kind of motor that keeps me running. Therefore I can’t really define what I find, the situation is rather that with every leaf I turn I find something new. You could say I found that the well of inspiration is inexhaustible, I am more than ever eager to make new pieces.

You are an Adjunct Professor of Architecture at the Beuth Hochschule für Technik in Berlin, so does this architectural aspect influence your creative work?

HC: Everything that surrounds me influences myself and therefore also inspires my work. I really like working with the students. It is always very interesting and enriching to get to know their point of view on themes and questions that are important to me. Working with different and often much younger people can be an inexhaustible source of inspiration if you are only open to it and willing to take up with it. Sometimes the ideas and projects of the students can shed light on subjects that I didn’t know up to that point or even help me get closer to answering questions that have been circulating in my mind for a long time. I once, for example, had my students work in a way that is closely related to my own approach, it was fascinating to suddenly have thirty people employ similar research techniques and methods of finding interesting structures, surfaces and compositions. I could watch them add their personal skills to the things I showed them which in turn served as inspiration for me and some of their results were really amazing.

Your art has been described as visualization of what is often unsighted by our species, so what is it that we are missing?

HC: This can again be related to the question of the birds-eye-view: the ‘human perspective’ denies us to see certain correlations and in my work I am trying to show them and extend them.

The main materials you employ are wood, carton and concrete, and you are known for creating large-scale works, could you please describe the process behind your huge pieces?

HC: At the beginning it is mostly a theme from a movie or a documentary that interests me, sometimes only small aspects or details that draw my attention. Following these details and the ideas they inspire triggers a seemingly never-ending chain of discoveries of other details and domains. I collect pictures, screenshots from documentaries, read snippets of articles, follow links… At a kind of second stage I start making sketches and sometimes even small models. These are necessary since I work in a very composite way, I can find and try different possibilities of composition and arrangement this way. Simultaneously, I experiment with different kinds of materials, make little tests, try to see how they react under different circumstances and when exposed to certain substances. Ultimately follows the realization in large scale. I sometimes have complex and laborious substructures to create multiple layers and levels. This can cost me lots of time and nerves: I construct, tear down, change and build up again until I am satisfied with what I have. I change my perspective on the piece frequently: I do most of the construction having the piece lying horizontally but then I put it on the wall, check it from close-up and distance, I also use a huge ladder to view the pieces lying on the floor. At the very end, I colour the pieces – an exciting and interesting process I really like, it’s a little bit like painting. Sometimes I feel like Jackson Pollock, running around his paintings, sweating. The more colour I use, the more fun I have. But I also work on details and use a very small brush. When I’m lucky, the piece is finished after this, but this happens only on rare occasions. Usually I have them hanging or standing around in my studio for weeks. I can see them all the time while I am working on something different, I kind of test them, check them out and mostly change and add a lot of things.

What are the future projects we can expect to see from you?

HC: My head is usually filled with lots of ideas, in my mind I start thinking about future projects before I have even finished the current ones, this means I will just keep going. 


Hendrik Czakainski / Modus Art Gallery



Jesus Curia / Modus Gallery

You have a lot of interest in non-European cultures, which is also the inspiration for your art. Where does this interest come from?

Jesus Curia:  I think the seeds of my interest in other cultures and ethnicities comes from my childhood. From a young age I have been fascinated by people from other cultures, I found them incredibly exotic, especially because where I lived in Spain as a child, it was difficult to see foreign people.

Why did you choose sculpture? What did you find so attractive about this very special form of art?

Jesus Curia: My father was a painter so when I was young I wanted to be a painter too. Then, I arrived at the Faculty of Fine Arts in Madrid and the sculpture made such an impression on me that it became natural to me choosing this technique.

 Were you creative in your youth?

Jesus Curia:  As I said, from an early age I was interested in becoming an artist and every afternoon, after school, I used to paint in my father’s study.

Your sculptures are mainly made of bronze. What do you like about it? What are the best features of this material? 

Jesus Curia:  Yes, I use a lot of bronze, but I also make use of wood, stone, resin and cement. Usually I decide spontaneously. I think of the subject and then I decide what materials can work best.

What feeling prevails after finishing a sculpture?

Jesus Curia:  I always say that sculptors have only two moments of fun with their work. The first, and most satisfying, is when we have finished a job and take a few minutes staring and admiring our creation. The second is when I see people enjoying my work.

What do you do when you're not working?

Jesus Curia:  That's an hard question. Actually, sculpture is my work and my hobby, so it's always in my head. I’ve recently become a father, and apparently that's the only thing that keeps me away a bit from my work.

What would you like to achieve as an artist? Do you have any more dreams you want to accomplish?

Jesus Curia:  I'm more than happy to be able to live from my work. As an artist, I would like my work to be exhibited in galleries all over the world, so that more and more people can admire my work.


Jesus Curia / Modus Art Gallery



Manuel Mediavilla / Modus Gallery

Un escultor semidesconocido en los círculos artísticos, el malagueño Manuel Mediavilla Crespo (1972), ganó ayer la primera edición del Premio Internacional de Escultura de Caja Extremadura, cuyo fallo se hizo público en Plasencia.

Su obra El entrenamiento logró el consenso de los miembros del jurado, un grupo de artistas y catedráticos, que vieron en la figura ganadora la expresión del mundo contemporáneo.

El entrenamiento representa a un nadador de waterpolo sentado en un banco, en posición reflexiva, que para el presidente del jurado, el escultor Julio López Hernández, "reúne una conjunción de aciertos clásicos para aludir a lo actual".

"Expresa el mundo contemporáneo desde la escultura clásica", incidió Antonio López, artista y componente del jurado .

A partir de este momento, el artista cuenta con un año de plazo para realizar el proyecto escultórico, en cuya creación Caja de Extremadura invertirá 60.000 euros.

A esta primera edición del premio se han presentado 108 propuestas de diversos países.

La obra ganadora se instalará en un espacio al aire libre de Plasencia.



Manuel Mediavilla / Modus Art Gallery



Jesus Curia / Modus Gallery


It is seemingly easier to identify with the ideas and thoughts of an artist if he works in sculpture with the focus on the human body. The interpretation of the movement and emotions should come naturally. Jesús Curiá is a Spanish contemporary sculptor, whose work revolves around the human figure, often mixing figurative elements when shaping the heads with the abstract ones when working on a body, trying to emphasize the tradition, modernity, and ethnics, which have remained the basic aspect of his approach throughout the years. By combining figuration with abstraction, the artist manages to pinpoint the viewer’s attention on specific parts of the artwork, while they simultaneously admire the craftsmanship of the entire piece.


 Melting All the Races into One

The artist uses a lot of bronze for his pieces, but also wood, stone, cement, and resin. He makes a decision which material he’s going to use when he comes to work and see what works best for the current idea, what will express his thoughts appropriately. The artworks are vital and joyful, and the way he uses colors emphasize it even more. Curiá makes it easy for viewers to see how his almost ancient characters perfectly reflect our thoughts and feelings about the contemporary world. From an early age, the artist, although himself a member of a western culture, has shown an interest in Asian and African cultures, and that led to establishing an idea where all races will melt into one. It’s an ideal that still fuels his inspiration.

His ancient characters perfectly reflect our thoughts and feelings about the contemporary world



He Wanted to be a Painter

The seeds of Curiá’s interest for other cultures were planted during his childhood, when it was difficult to see foreign people, so it was very exotic when he would actually see someone who wasn’t from his country or even from Europe. He always wanted to be an artist, as his father was a painter, so Curiá also wanted to become one. However, the sculpture left such an impression that he abandoned painting and dedicated himself to being a sculptor. He graduated from Fine Arts College of the Complutense University of Madrid in 1992. Since then, the sculpture has become both his work and his hobby, always on his mind. His family is also an immeasurably important part of Curiá’s life and the only thing keeping him from not working all the time.

The sculpture left such an impression, that he abandoned the idea of being a painter

Rare Moments of Fun

The artist thinks that sculptors have only two moments of fun with their work – ”the first and most satisfying is when we finish a job and lose a few minutes admiring creation. The second is when I see people enjoying my work to some extent.” Speaking of some goals for the future, when thinking as an ordinary person, Curiá is more than happy to be able to live from his work. But, when speaking as an artist, he wants to show his work in galleries throughout the world.

Jesús Curiá lives and works in Madrid.