Alvaro Diego G\u00f3mez Campuzano es un artista propenso a la experimentaci\u00f3n. Despu\u00e9s de haber realizado distintos estudios de arte y prolongados experimentos de forma, en sus obras m\u00e1s recientes une los dos mundos de la escultura y del arte textil, ajenos el uno al otro.<\/p>\n\n\n\n
El p\u00fablico h\u00fangaro por primera vez pudo conocer sus obras en la 8a Trienal Internacional de Peque\u00f1a Escultura de Budapest, en 1990. Sus Mutantes hechos de hilos multicolores de polipropileno y sus formas rebosantes de fuerza, enroscadas entre s\u00ed, eran portadoras de una rara duplicidad. Lo jocoso y lo dram\u00e1tico aparece de una manera m\u00e1s encubierta en sus obras recientes. Con distintas piezas de su serie subtitulada Ornamentos, ha participado con mucho \u00e9xito en 1992 en la XV Bienal Internacional de Arte Textil de Lausana, en la VII Trienal Internacional de Tapices de I\u00ed\u00f3dz y en la exposici\u00f3n de arte contempor\u00e1neo h\u00fangaro-iberoamericano “El huevo de Col\u00f3n”, en Budapest G\u00f3mez Campuzano piensa en series. El t\u00edtulo de su \u00faltimo ciclo. Ornamentos, alude, entre otros, a las tentativas de disolver las barreras gen\u00e9ricas tradicionales. Los conf\u00ednes de las artes pl\u00e1sticas y de las aplicadas son flexibles para \u00e9l. Su sistema es sencillo y magn\u00edfico a la vez, como lo son las formas ancestrales y los mejores juegos. El material y la forma encontrados son su medida b\u00e1sica: la cinta transportadora de acero, que obedece al ingenio creador del escultor lo mismo que el hilo al alfombrista. Sus esculturas y nudos met\u00e1licos “flexibles” est\u00e1n compuestos de elementos herrumbrosos e inoxidables, as\u00ed como la concatenaci\u00f3n de las bisagras que los unen. La repetici\u00f3n r\u00edtmica de las figuras que recuerdan formas geom\u00e9tricas, las superficies lisas, brillantes y las \u00e1speras y corro\u00eddas (que nunca se entremezclan en ninguna de sus obras) pueden originar toda una serie de asociaciones libres. Y es que, al ver las formas verticales y horizontales, y naturalmente el nudo (motivo principal que vuelve una y otra vez) – adem\u00e1s de numerosas otras lecturas posibles -, no podemos dejar de pensar en el quipu, la ancestral escritura de los incas. G\u00f3mez Campuzano trata de dar respuestas modernas a preguntas ancestrales. Sus peque\u00f1as esculturas de fuerza monumental y sus estatuas erigidas en lugares p\u00fablicos plantean preguntas filos\u00f3ficas: hablan de las grandes correlaciones del macro y del microcosmos. Su arte indagador de secretos universales expresa estos misterios vali\u00e9ndose de un peculiar lenguaje -la tarea de descifrar el mensaje ya nos toca a nosotros.<\/p>\n\n\n\n
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Alvaro Diego G\u00f3mez Campuzano is an experimenting artist. In his newest works of art, after different art studies and experiments with form, he can combine the indifferent worlds of sculpture and textile art.<\/p>\n\n\n\n
The Hungarian public could see his works the first time at the 8th International Small Sculpture Triennial of Budapest in 1990. His Mutants, executed from colour polypropilene threads, being in the pink of power, winding to each other, bear some strange duality.<\/p>\n\n\n\n
Playfulness and dramatic character appear in a more hidden form in his new works. The different pieces of the series , having the sub-title Ornaments, were successful in 1992 at the 15th International Textile Biennial of Lausanne, at the 7th International Tapestry Triennial in Eodz, and at the Columbus’ Egg, Hungarian-Iberian-American contemporary visual arts exhibition in Budapest.<\/p>\n\n\n\n
G\u00f3mez Campuzano is fond of series. The title of the newest cycle, Ornaments amongst other refers to the efforts to cancel the traditional borders of the art branches. The borders of visual art and applied art are flexible for him. His system is simple and great, just like the ancient forms and the best games. The found material and form became the etalon: the steel belt-conveyer is obedient to the artist’s creative imagination like the thread to the carpet maker. His “flexible” sculptures and metal knots are built from the rusty and rust-proof elements and the chain of the joining hinges. The rhytmical repetition ot the conformations, reminding to geometrical forms, the smooth, glittering, rugged and corroded surfaces (which never mingle in one work of art) may cause free associations. Seeing the vertical, horizontal forms, and certainly the knot (the always returning main motive), though they can be read in different ways, we invitably think of the ancient Inca writing, the quipu.<\/p>\n\n\n\n
G\u00f3mez Campuzano tries to give modern answers to ancient questions. His small sculptures, having monumental power, and sculptures placed in public squares, are about philosophical problems: they speak about the important connections of the macrocosmos and microcosmos. His art, searching universal secrets, composes these cosmical mysteries with the help of a peculiar language, however the deciphering of the message is our task.<\/p>\n\n\n\n
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