The physical extension contains all the spaces of existence. Urban dwellers are the line of sun and shadow in the visual movement that arranges and shapes human beings.
Sebastian’s sculpture creates cities from the will of the eye and the organization of forms that, together with color, define the space of his poetry.
Because the extension of the body. Because Sebastian is a man of numbers, and like the ancients, he measures the harmony of the universe from human scale.
This body measurement is to drop cities. divided into panels, as the Egyptians did, or a golden section, as the Greeks did.
It is Vitruvio’s own body, with Leonardo’s hand, that splits Enrique Carvajal’s face to make him Sebastian. A charming Sebastian who feels the space of invented cities, is the artist I spoke with more than twenty years ago during a meeting of innovators in Ciudad Juárez, Chihuahua.
In his face, his face is divided into three phases, intelligence and instinct prevailing over his sensitivity. But the instinct of man who, paradoxically, builds on the rational. But perhaps it is the artist’s mathematics that brings us closer to the poetics of world-building.
Sebastian’s world is concentric. Certainly, Sebastian divides the world from the lights and shadows produced by his sculpture and influences visible and tactile spaces, where music and its sounds create and recreate with the wind, with clouds, the transparent and faceless sculptures of buildings. .
Sebastian is above all a sculptor of the total urban landscape, who moves with his color and instincts that honor space.
His sculpture Águila del Bicentenario, a metropolitan area I call “Victoria Futura”, is a perfect combination of form and color that produces different hues at every hour of the day, and at times when the sun and shadow push the statue into our eyes. , in the gravity of moving space with clouds as a tapestry in the sky of Ciudad Victoria, Tamaulipas.
It breaks the great 40-meter-high statue that forms the circle that ends in the wings of an eagle, whose movement and strength make it a bird of peace.
They are the wings of the sun: light and shadow open the partitions and cut the air to breathe the music of the wind. The statue is fire red. He moves his magic around the edges of the mirror in the full afternoon sun, in the open sky. It comes to our eyes with the dream of blossom in its composition in terms of color and temperature.
To the north it is a dart, to the east it is born with the sun, where it appears with its wings. Appearing in the curve of the Tropic of Cancer like the prow of a Viking ship on a sea of clouds at sunset, a sword of steel blades in the teeth of the moon. Al Rasiya is a beacon of fire and is an eagle enthusiastic and passionate about our past and present.
The upright and prominent statue appears to be the time hand of the sundial. There is a key to the spirit of steel. Overcoming adversity and adjusting the environment, come on, create the city from the point of view of all the moments of human beauty.
The eagle represents intelligence in the stages and description of the face as well as the extension of its body. The artist rages against the challenges of darkness to craft light, elevating the earth as the focus of his urban charm.
The bicentennial eagle is erected and focuses the gaze to create an area of visual power. It opens the roads to the new city, honoring the steel, glass and cement environment. I’ve referred to bodily sprawl as the chihuahua artist’s magical symbol.
It is the spirituality of the numbers that multiplies the gaze, which with sculpture emerges from the void to anchor the invisible, to discover and seduce the pleasure and joy produced by Sebastian’s series of harmonies.
This discovery leads us to the urban landscape: the curves, circles, and units of color in the sculptor’s painting, which bring back to us the ancient urban wisdom of living feeling and art. Sebastian agrees to the city as he invents space with a new look.
Alexander Calder said well that a man becomes mobile from the moment he leaves his house and walks through the streets with a breath. Sebastian reconciles the dynamics of our gaze and our sculpture in all visual angles that form the poetics of space.
A space that honors appearance and humanizes the environment. She once wrote: “The body is a harmony that travels naked, with light strokes it turns into a star, with the gusts of wind it becomes a leaf.”
I firmly believe that Sebastian’s sculpture is a harmony that moves naked into our eyes and changes the gaze of the urban spectator.
This transformation accommodates both rotating objects to a fixed optical break within frame buildings.
Bodies interspersed with sculpture and visible bodies of hundreds and thousands of spectators who are infected by them and actively participate in this transformation signified by aesthetic pleasure.
Sebastian, in Águila del Bicentenario, includes and codifies invisible geometries that appear to surprise our eyes and enrich the artistic heritage of Tamaulipas.
Enjoying Sebastian’s sculptural work encourages an urban spirit, as a work of art, but also participates in the public business interest.
Because urbanization processes along with cultural services in city planning, that is, everything that constitutes public space, is to know everyone, enjoy everyone, enjoy everyone, and practice everyone. Living in the city turns us or us into “units” of its heart and soul.
Gaston Bachelard said in his poetry about space: “Man is born to build his house, on the other hand a snail is born to build his house…” Sebastien was born with his sculpture, the multicolored snail that incorporates his spirit of perfection. And it allows us to build the material home that means aesthetic freedom, one of the criteria in which man becomes great to live art in the city.
The poetics that the great Mexican sculptor entails is not a proposition, it is a realization of the visual, subtle and tactile man.
It is the light and shadow that frame and characterize cities in order to transform and live in them. Because his sculptures breathe to create possible dreams and the highest machinations that make cities equal and different.
We feel it just by looking at the work of Sebastiano, this man of contemporary geometry who observed from the secret mathematical circles to create the exaltation of the invisible in our concrete sight. who share the city and the world with him.
The artist turns our gaze to a party, urban animation that definitely becomes public health. The artist leads us to multipolar sensations, because the space is transparent and allows for a play of appearance.
And it’s a game that causes the imagination to blossom as the lace on every part of the sculptural body presents satisfying new forms.
Thus, Sebastian’s sculpture has the ecstasy of a garden sculpture made of metal and humanized color. Every unit comes to life at your fingertips.
Space allows the Infinite Toucher to reclaim the body from the invisible. Sebastiano’s work can be touched, but we can also dream of it as our gaze creates other gazes as sensations identify us with the great sculptural body.
We are states of being, the bodily extension of sculpture proudly appearing as one of the sculptor’s monumental wonders of the 21st century.
We are the harmony that travels like leaves, we are eyes full of surprises that Sebastiano’s imagination opens from now on in the heart of “Victory of the Future”, which moves its wings with the leaves of the tree of life, where Gardama is also the memory of our history, the bicentennial eagle is a display of planning, its aesthetic contribution and the joy of our field of vision: the crucifixion which tempers the fire which the gods bestow upon men. Sebastiano is the finger of the god of work, the amazing imagination in the sculpture he now shares with this land in the corner of the homeland: Tamaulipas.
By Alejandro Rosales Lugo
