Marie-France Veyrat
LES QUATRE CREUS 2020
Inauguration of the Les quatre creus sculptural project that took place in Almoster, Plaça Carme Forcadell i Lluís, Tarragona province on December 20, 2020
Les quatre creus, 2020, acero corten, 390x97,5x0,5cm.
The protagonist of this public sculptural work is the cross. I consider it to be a geometric, aesthetic figure where the signs associated with the symbols play an important role. The choice of the cross follows the concept and the line of my artistic career. In addition to the context of the cross as a historical and sociocultural reference, I want to contribute a broad secular vision that goes beyond the purely religious vision. It could be any other geometric element, in this case the cross fits perfectly next to a cemetery.
The work is four stories high. Each floor represents a different cross, first from the bottom there is the Latin cross, followed by the cross of San Antonio and the cross of Santiago, to finish with the Maltese cross. These crosses are known all over the world and the reason for the order of their presentation is only aesthetic. The Maltese cross, on top, offers infinite drawings due to its shape that play with the cutouts of the sky.
The material of the sculpture is corten steel. When the piece was installed at the beginning of June, the steel was the colour of dark metal and in agreement with the City Council we decided that the oxidation process would be done naturally so that the sculpture adapts to its environment, taking the desired orange tone, without interrupting the oxidation process. The climate factor, especially lack of rain, has done little in our favour, but such is the region weather.
The work then is a work in progress, an unpredictable piece of art, a living sculpture!
Marie-France Veyrat
SCULPTURE / URBAN SCULPTURE
Les quatre creus. Marie-France Veyrat
Posted on 17 January 2021 by Altacapa
Just over a month ago, this piece of corten steel by sculptor Marie-France Veyrat was inaugurated in Almoster Cemetery Square. We could say that it is a sculpture that assumes the classic paradigms both for its location, as for the materials used and the symbolic language that establishes relationships with the place where it is located. Ascending crosses - Latin, Sant Antoni, Sant Jaume and at the top of Malta - in a vertical path, highlighting the symmetrical geometry of the shapes, as if we could imagine how to continue with the piece. But, under this more classical reading, there is a very radical contemporary vision that allows us to relate the four crosses to a DNA fragment, or perhaps to a series of computer instructions written in "source code" or to the segment of a topological network that supports a complex and unknown structure. As if, in fact, a forgotten language connects us with nature.
