Enrique Arau is an artist from diverse territories. Now he is living in Buenos Aires, but he has lived and worked in the city of La Plata and also has had many experience in Europe. Not only is he a shape maker but he is a creator of existence. As a sculptor, Arau has complete conciousness of the dialogue between matter and space. His recent works show a long process of balanced synthesis in which a kind of poetic constuctiveness is manifested. In this sense, shapes are space builders and their activity is constituted through a system of forces that integrates material, mass and its accidents, the artist and his environment. Wood and metal are basic elements that remember what is natural. Rectangular and circular shapes are associated to other shapes that have organic character. The artis's work is insinuated by subtle but precise incisions, provokes textures and combinations from a minimum repertoire. We could find this production in the sensitive American Geometry, why not? The artist has produced an associative conjure that invites us to think about the History of Art through the existence of features of material minimalist American sources. The rituality of sculptures and monuments of our ancestors, the meaning of the dominance of the significant and the relationships among the minimum elements provoking multiple readings of the space. This artist's way of working constitute his poetry: a meditated production of continuos reflection that submerge deeply trying to find the absolute in the elementary things. Arau invites us to think about the harmony through his look in these times in which some values are forgotten and some others are inaugurated perhaps some new ones.
The possible ways of thinking about perfection through imperfection, of finding the absolute in diversity, take us back to a dynamic reading of the laws of Geometry and their plastic translation as a source of knowledge. A moderate and quiet conversation with classical ideas about beauty, to discover its present situation possibly for fulfilling with its function of being an allegory of that absolute.
