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sculpture wood biomorphic wobble

Jorge Palacios

Okiagari - Koboshi, 2018

Accoya wood

65.75 x 47.25x 39.375 inches

sculpture wood stingray

Jorge Palacios

Origin of the Ray Fish, 2014

padouk and ebony base

23 x 6.75 x 4 inches

ed. #3/20

Sculpture wood round

Jorge Palacios

Drop, 2010

hard maple

12 x 20 x 20 inches

sculpture wood

Jorge Palacios

Flowing Drop, 2017

ebony

60 x 4 x 4 inches

Jorge Palacios

Okiagari-Koboshi

North Gallery

April 5 to May 4, 2019

For twenty years, Jorge Palacios (b. 1979, Madrid, Spain), has examined the formal properties and conceptual potential of physics in sculpture – inertia, motion, gravity, attraction, tension, continuity, velocity, balance and momentum. Palacios’s sculpture explores the harmonious confluence of art and mathematics, science and the human spirit.

In the catalogue for the recent exhibition of Palacios’s work at New York’s Noguchi Museum, curator Dakin Hart analyzes both Palacios’s and Noguchi’s interest in exploring the structures of nature and the ways in which they can be employed in sculpture. He affirms, “Like Noguchi, Palacios is interested in science in ways that extend beyond mechanical engineering or applied materials.” Many of the works in the exhibition were dedicated to “his investigations of fluid dynamics. Origin of the Ray Fish and Blood Cell examine the shapes of things, large and small that have move through liquids. Flowing Drop and Trajectory explore the way that fluids move and affect motion. He plays a complicated structural game by collapsing scale, making virtually no distinctions between enlarging the microscopic and shrinking the environmental… [with] the intent to create a relationship between the natural phenomenon and human comprehension, with comprehension being defined as the ability to connect physically.”1

Jorge Palacios’s sculptures have been widely shown in public locations, including last autumn when he exhibited the large scaled Link (2018), in Manhattan’s Flatiron Plaza, as part of The Noguchi Museum’s exhibition. In 2015, he exhibited in Soho, New York Sketch in the Air (2015), which was selected by Artnet as one of the ten most interesting public artworks to see in Manhattan. He has also shown work in front of the Santa Cruz Art Museum, the Monastery of San Lorenzo de El Escorial, at the Floridablanca Sculpture Gardens, and in the Torres de Colón building, in Madrid, and as part of an exhibition of public sculptures in the streets of Toledo, at that city’s Sun Gate, and Bisagra Gate.

Palacios’s work has been exhibited in numerous museums and centers for contemporary art, including most recently at The Noguchi Museum, where the 2018-19 solo exhibition Jorge Palacios at The Noguchi Museum was curated by Dakin Hart, Senior Curator. His work was shown in three of the Museum’s indoor galleries and its sculpture garden in dialogue with the permanent collection of Isamu Noguchi's works. Palacios has also exhibited at the Museum of Fine Arts of Guadalajara, the Santa Cruz Art Museum, the Mirador Hall of the Thyssen-Bornemisza, the Fundación Canal, the Fuensalida Palace, and the Salle d'exposition de la principauté de Monaco, as well in spaces as the Executive Terminal of the Madrid-Barajas Airport.

Palacios's work may be found in public and private collections in Canada, Switzerland, Spain, and the United States. He has created sculptures for institutions such as the Spanish Agency for International Cooperation for Development, Ministry of Foreign Affairs and Cooperation, the American Hardwood Export Council and the International Data Corporation.

Palacios divides his time between his studio in the Chelsea neighborhood of New York City and his workshop in Spain. 

                                                     

1. Dakin, Hart. The Structure of Things, Jorge Palacios at The Noguchi Museum. New York: The Noguchi Museum, 2018, p. 19.