The editorial categories are research topics that have guided researchers during the recovery phase and continue to be the impetus behind the Documents Project’s digital archive and the Critical Documents book series. Developed by the project’s Editorial Board, each of the teams analyzed this framework and adapted it to their local contexts in developing their research objectives and work plans during the Recovery Phase. Learn more on the Editorial Framework page.
Curator María Elena Ramos studies the constructive-geometric nature of the work by Venezuelan sculptor José Jesús Moros, finding a series of distinctive features in his (contradictory) use of geometry, although always with the intention of relating virtual masses with the space that surrounds them. Ramos analyzes the principal characteristics of his work, highlighting the presence of what may be considered “baroque,” explaining that a nexus of “tension” is created between Moros’ sculptures and the spectator through the lines that perforate the space.
In 1986 Venezuelan sculptor José Jesús Moros (n. 1950) presented his second individual show — the first to be held in Caracas (the previous show had taken place in Maracaibo) — this essay by Maria Elena Ramos (n. 1947) serves as an introduction of his work to the people of the capital. The curator discovers the distinctive double use that Moros implements on a geometry full of contrasts, which limits and “de-limits,” which frames and unleashes. For Ramos “the line” is essential to the virtual geometric constructions of the artist; they function not only to demarcate, but also to contain space. These lines transcend the work and project themselves into space, attacking, wounding and perforating it; the author likewise states that the complexity of Moros’ forms lends a certain baroque quality to geometry, and as paradoxical as this may seem, given that forms cease to be geometrically “pure.” In her judgment, another distinctive feature of Moros’ work is that the virtual volume substitutes the mass of the solid volume. This concept of virtual volumes changed radically, when years later [the artist] opted instead for closed volumes that contain space, rather than open volumes that simply demarcate it.
This essay represents the first phase of Moros’ production (which occurred from the beginning of the 1980s to 1990), and was characterized by the dominance of verticality, the irradiation of spatial forces, the predilection for circular form and linearity that suggest form and space. His later phase featured diametrically opposed elements to those discussed herein. [See in the ICCA digital archive the text by José María Salvador, “On Vectors and Tensors: from finite volume to the infinity of space” (doc. no. 1169332)].