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The work takes its name and conceptual reference from the cut-outs of Henri Matisse, especially his papiers découpés, made in the last stage of his life.
The posture—relaxed, introspective, almost suspended—conveys serenity and contemplation. There are no defined facial features or anatomical details: identity is constructed from the curve and the balance between masses.
The sculpture functions as a synthesis between drawing and volume: it is a… line transformed into a body. The blue does not describe; it unifies. The form does not narrate; it suggests.
Matisse is not a naturalistic representation, but a sculptural evocation of the modern spirit: economy of means, exaltation of pure color and primacy of rhythm over detail.
Antonio Imbernón Iranzo works in sculpture, painting, ceramics, and poster design, drawing on a self-taught and multicultural background developed in Chile, Puerto Rico, and Paris. His technique is characterized by formal synthesis, the use of geometric planes, and an essential figuration influenced by Mediterranean tradition and classical mythology. His works, which explore the human figure, memory, and universal values, convey a profound vital and spiritual emotion, seeking to give form to the inner essence of the human and the invisible.