Man, 1968
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This compact black sculpture exemplifies a post-war Constructivist or Brutalist approach to form, where industrial materials and architectural logic converge into a compact, human-scaled object. Composed of welded steel elements, the piece evokes both the vocabulary of mid-century sculpture and the aesthetics of mechanical engineering—suggesting a synthesis between art and machine.
The stacked rectilinear volumes and vertical thrust recall the modular, upright totems of Antoine Pevsner or Julio González, while the smooth, flared top element—resembling a stylized head or mechanical fitting—introduces a subtle anthropomorphic quality. Its scale and proportion suggest a figure distilled to essential components: a body built from blocks, crowned by a head-like form that evokes tension between utility and abstraction.
Finished in a glossy black patina, the surface reinforces the industrial character of the work while offering a sleek, reflective quality that elevates it from mere construction to contemplative object. Rooted in the sculptural language of mid-20th century European modernism, this work could easily be situated within the context of artists like Shinkichi Tajiri or André Bloc, whose practices bridged sculpture, architecture, and machine aesthetics.
Whether viewed as a minimalist totem or a relic of a mechanized age, the sculpture carries a quiet monumentality—an object that speaks in the restrained, coded language of form, weight, and balance.
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