D A N I E L   E S C A R D Ó
 d a n i e l @ e s c a r d o . o r g

SCULPTURE INSTALATION

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Text  Lic. Jacqueline Lacasa
Director
NATIONAL MUSEUM VISUAL ARTS  MONTEVIDEO  2009

The onward work of an artistic project suggests a deep appreciation of each of its parts as well as the development of ideas which thereupon transmit, communicate and unfold new ways of perception.
Such accomplished movement is evidenced in the diverse work of sculptor Daniel Escardó.
In the progress of his work, it has been possible to establish forms of construction that frame his investigation, reaffirmed in the possibility of x-raying matter, deconstructing its stages of transformation and able to place the three-dimensional body of the object in the field of artistic production.

Thus, the artist performs his series: “Trees of Barbarism”, committing himself to the daily transition of living nature. He traps the lines that make up its unique anatomy on photographic plates, plays with its bone structure, captures space light within its cavities, turning this into matter and shaping the transparent spaces into further quests.

His new work is a portion of this project in process, revealing a larger scale piece, situated in the gardens of the National Museum of Visual Arts. Its peculiar nature is complemented by the landscaping design of the renowned Architect Leandro Silva Delgado, in the midst of the imminent and much desired recovery of this garden, this work of art, in great stance, presents itself as: “Trans-lucid”.

Trans-Lucida Aluminum sanded polycarbonate and stainless steel 40 x 47 x 170 inches 2008

Reflected on a pool of water, its structure is built with impeccable definition, it holds itself on pieces that diminish in size, like vertebrae. The surrounding landscape is interspersed with hollow figures that filter the vegetation, reminding us, harmoniously, of the organic origins of the work.

The site of the sculpture by night has movement, generated by water, wind and light, resolving the fluctuating circumstances of the object, allowing moreover, concurrent to the Benjaminian point of view, the ability to see and be seen throughout the object, through the vital aura provided by this work of art.

These signs especially, are able to convey diversity and enjoyment on beholding this work of art. The artist therefore achieves, as from his Trans-lucid, a direct effect on the passer-by, going beyond what is contained inside the Museum.