The works performed patent three stages in the development of Salvador Manzano's three-dimensional structures: the first - from 1979 to 1982 - pertaining to the work in which curves predominate; the next phase – between 1982 and 1985 – corresponds to the pieces created starting from the union of curves and rectas; and the contemporary one – from 1985 to the present day -, those which are characterized by the incorporation of volumes whose organization is based on rectas and curves.
The situation that ENAP was experiencing at that time made it easier for Salvador Manzano to quickly develop his aptitudes and interests. He began his professional production based on the interrelation of smooth curves and rectas, and began, starting in 1975, to gain a presence within the plastic panorama.
The other cause that had a decisive influence on the coherence of the author's artistic life was the paused rhythm that characterizes the work in three dimensions: the spaced and dynamic work that promotes the reflection, the investigation and the prediction that are manifested in his works.
The works that conform to "the curvilinear space" have an immediate impact on spectators, due to the way in which the author has resolved the opinions that, unsurprisingly, exist. Salvador Manzano's pieces are the formal synthesis of contradictory concepts: internal-external, complete-simple, effective-apparent, heavy-light, empty, stable-movable, partial-total, solid-débil.
The high quality in the manufacturing of the pieces by this author is possible thanks to the technological advances in intermediate design used in the industry, which allow them to effectively transform the carbon maple plates that they consist of on the material. The works carried out in the curvilinear space, the approval or the acquisition of manufacturing skills by the author, include the concealment through the application of painting, not only of the material, but also of the elaboration processes that should be mentioned.
The high quality in the manufacturing of the pieces by this author is possible thanks to the technological advances in intermediate design used in the industry, which allow them to effectively transform the carbon maple plates that they consist of on the material. The works carried out in the curvilinear space, the approval or the acquisition of manufacturing skills by the author, include the concealment through the application of painting, not only of the material, but also of the elaboration processes that should be mentioned.
It should be mentioned that Salvador has foreseen the use of other materials and other recubrimientos in order to reduce the maintenance of its structures - planes to be displayed outdoors - required to avoid or delay corrosion. Inclusive pretends to work with other maple or aluminum – as you have it – the brightness, tones and textures of the metals without paint; as well as applying epóxico recubrimientos or implementing the ferro-cement technique to solve works in monumental formats larger than ten metres.
The work of Manzano is directed towards the perceived faculties of the public. Those who integrate the curvilinear space are passable and increase the participation of spectators. These works allude, on occasions, to tangible reality and, on the other, evoke sensations. The references and memories that generate, frequently provoke associations that increase the aesthetic use or remit ideas – reinforced by the titles, elegidos with aciertoque auxilian in your understanding.
Various of the plants that the author incorporates come from a modern tradition. The new sculpture, by combining the bulk, the mass and the material, achieved the possibility of integrating the real space with its proposals in three dimensions.
Discussing with lines of metal is a very advanced idea that Salvador started in 1979, but the strength of his recent three-dimensional objects lies in the renewal that obtains from his language the proof of volumetric forms which feel not only different from the traditional, until it comes with new meanings: do not recover the volumes left behind, even those that you have renounced, do not begin the execution of open sculptures, before well, abandon the intransigency that characterized some of the international artistic movements of the past three decades in order to enrich themselves recursos expresivos.
In "The Curved Space" Salvador Manzano demonstrates that in artistic activity it is possible to share a common language with other colleagues and, at the same time, feel. It also confirms that, for a large number of creators who have developed their style during the past decade and have consolidated it in the present, the new limits of contemporary art mean new freedoms.
The methods of realization of Salvador Manzano as well as his formal repertoire, congruent with the technical possibilities of the actuality, derive from some of the historical vanguards surgidas to principles of the present acronym. The systematization, the organization of the creative work that characterizes them, as well as their experimental attitude, are herencias of the movements that flourished in the post-war period. By focusing on them – but without pertaining to any of the courses that follow – we practice the practice of three-dimensional posescultórica which is aimed at obtaining new concepts, as we have learned with the volume"
Museum of Modern Art
Chapultepec Forest,
October, 1987
Mexico D.F.
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