King Theobald

The author gives no reference as to the particular Navarre monarch in question, given the fact that two consecutive kings, pertaining to the French house of Champagne, had the same name. Specifically, Theobald I (1234-1253), the troubadour king, and also his son and successor, Theobald II (1253-1270), known for his participation in the crusades together with his father--inlaw St Luis of France. The work itself is initially based on a figurative concept, although it ends up treading that fine line separating figuration from abstraction. The figurative references in the work are self evident: two legs, an arm accompanied by its corresponding hand, a shape for the head… but from then onwards the references start to disappear. For example the work lacks a trunk, being replaced by a great empty space, a figure with schematic features, executed in metal and with a large, round stone for a head. The artistic execution of this work is extremely interesting, coming within the realms of contemporaryplasticity, and offering a successful play between spaces and cavities, in contrast with a naked statue with powerful forms. This work clearly reveals the author"s classical humanist education,although its forms are developed towards different concepts such as abstraction or surrealism, displaying the influences of Brancusi and Arp. An absolutely conceptual sculpture, with enormous contrasts, showing mass and space, iron and stone, natural and unnatural.

José María Muruzábal