The worship of the curve developed by Jacinto Moros in his artwork has, as a good production with strong foundations, a prismatic texture in which interpretations and rich metaphors expand. A kaleidoscope that sheds formal lectures as the measure of abstraction of his embossed paper or the different levels that characterize his wooden sculptures. Based on these two creative points a poetic narrative arises based on movement where the forms flow and dynamism is expressed through the principal virtues of the sculptural tradition. This is present on the flat plane, present in his graphic work, or in the challenge of his three-dimensional spatial pieces. We are facing a meticulous and experienced work and acknowledge the paradox of sustained movement. The eternal instant that forgets it’s origin and it’s possible derivations, that even being ubiquitous concepts, they do not constrain results. The artworks of Jacinto exist, they live in the moment, resulting in an agreeable dialogue with the viewer. They share, without vanity, the timelessness which nourishes them. Such curves, the protagonists of his work, are equally comfortable between euclidean calculations as they are amongst the boldest theories of relativity.
Another of the subtle constants evident in Jacinto’s works are the dialogues established by science and nature. Science, the process; nature, the tree that is transformed into wood, and at the same time transformed into paper that works as raw material. Procedural flourishes like fluid swirls that describe his sculptures, in which the artist’s inspiration propels as a jet engine, the materials composing trails in which we identify human measures or the behavior of energy that interacts with both surface as well as the forces that govern the universe.
The reference to Bertrand Russell it is almost inevitable when, speaking of mathematics, insisted not only in the inherent truth of them, but also in the supreme beauty that they represent. In his words, “a beauty cold and austere, like that of sculpture, without appeal to any part of our weaker nature, without the gorgeous trappings of painting or music, yet sublimely pure, and capable of a stern perfection such as only the greatest art can show. The true spirit of delight, the exaltation, the sense of being more than man, which is the touchstone of the highest excellence, is to be found in mathematics as surely as in poetry”.
Naturally, Jacinto Moros’ calculations go beyond the cold an austere beauty of Russell, with the addition of human dimension and implied sublime colour. The human dimension is represented in the liveliness that is shown in his sculptures, sublime in the pure white that rules the other pieces, where, as with happens in life, its growth depends on an external source of light. As projections of the soul, each curve represents an impulse, swerves that usually carry contradictions, natural cycles, the symmetries and finally to the ups and downs that characterize any search for answers and the freewill that is so desired.