DYNAMITE BABY, 1983
by Alfredo Halegua
Painted steel 9' x 9' x 9'
Exhibited at the Civic Center, Washington, D.C., 1985. Dynamite is one of three sculptures in the park exploring the possibilities of transforming a cube into an object of art. A hole was carved through an imaginary cube. Then, a few cuts were applied on the two open ends, and the parts were bent out to convey the illusion of an exploding cube. The result is a dynamic object instead of the original static form.
PHELES, 1991
by Rafael Consuegra
Painted steel, 2' x 3' x 8'
This piece was inspired by the inner beauty of the flowers.
PIET, 1984
by Alfredo Halegua
Painted steel – 18’ x 6’ x 4’
One-man show, Museum of the Americas, Washington, D.C. “Piet” is the artist’s homage to Piet Mondrian, an abstract artist. Simple lines and solid color fields illustrate how much can be said with few elements. The artist used his own geometric principles to express his admiration for Mondrian’s work.
.
TOBOGGAN, 1978
by Alfredo Halegua
Painted steel, 4' x 5' x 12'
"Toboggan" is a geometrical configuration of the principles of "contrapposto," used originally by Renaissance artists to create the effect of dynamism when representing the human figure. This sculpture is a massive geometric form that expresses this concept in a simplified abstract way.
FOR THE BIRDS, 1990
by Alfredo Halegua
Painted steel, 6' x 6' x 6'
This sculpture is remarkably simple, but its use of color, applied in a variety of configurations, offers the viewer a different perception of its forms.
QUEBRADA, 1990
by Alfredo Halegua
Aluminum, 18’ x 8’ x 5’
Two similar pieces connected at a 90-degree angle form a symmetrical composition suggesting a boomerang-like shape in flight.
DESTELLOS, 2004
by Mario Almaguer
Painted steel, 9' x 8" x 1,6"
This object is a free form rendition of the solar system. This work and others like it are often created as large-scale cutouts.
ARCOS
by Mario Almaguer
Painted steel, 9' x 8" x 1,6"
A representation of bows used throughout history, Arcos is a graceful, yet simple metaphoric expression inspired by Afro-Cuban culture and symbols.
UNTITLED #1
by William King
Aluminum, 9’ x 5’
King is known for his simplified figurative cutouts in metal that are presented with a warm, subtle touch of humor.
UNTITLED #2
by William King
Aluminum, 9’ x 5’
“The slat-like legs on which many of the artist’s figures stand seem emblematic of a precarious existence , and a balance that is always hard-won.”
-Reagan Upshow, 1995, Art in America
TOUCHING POINT, 1980
by Alfredo Halegua
Painted steel, 8’ x 17’ x 8’
This sculpture was exhibited at the Civic Center in Washington, D.C. in 1985. This sculpture depicts a massive geometrical form moving through space and ending with two extremities barely touching each other. Light and shadow change how the angular shape appears throughout the day.
PIE IN THE SKY, 1984
by Alfredo Halegua
Painted steel, 18' x 6' x 6'
One-man show, Museum of the Americas, Washington, D.C., 1988- 1989. Museum of the Americas, Washington, D.C., 1992. The Kennedy Center for the Performing Arts, Washington, D.C., 1984.
This vertical composition rests on an angle at the base and ends on an angle at the top. The sculpture is made of a spiraling sequence of rhomboids and triangles connected to each other in an ascending movement. Four rhomboids and fifteen triangles compose the figure. The angularity of this columnar design allows a continuous play of light and shadows giving the sculpture an infinite variety of visual changes.
FARON, 1992
by Rafael Consuegra
Painted steel, 2' x 1' x 8'
The translation of the name of this piece is the light that guides the way.
HABITAT, 1974
by Alfredo Halegua
Painted steel, 6' x 6' x 5'
One-man show, The Baltimore Museum of Art, Baltimore, MD.
"Habitat" is a potentially habitable shape if enlarged to a massive scale. The middle cantilever is a structural challenge for engineers to ponder.
ARCHITECTONIC
by Alfredo Halegua
Aluminum 3’ x 3’ x 6’
One-man show, Henry Gallery in Washington, D.C.
In 1969, this sculpture was conceptualized by the artist for a mixed-use apartment or shopping complex. The artist felt that buildings did not have to look like a box or column to be habitable. Instead, a building could be a sculpture or a work of art and not a utilitarian container. Today, some well-known architects implement this approach.
CANTILEVER
by Alfredo Halegua
Aluminum, 3’ x 4’ x 7’
This object was conceived as a sculpture building.
STATUE OF LIMITATIONS, 1990
by Alfredo Halegua
Painted steel, 13' x 13' x 9'.
Denver Art Museum, Denver, CO, 1981. Volusia County Court House, Daytona Beach, FL, 1982. Although the title of this sculpture sounds like a legalistic term, it is instead a reference to the limits one imposes upon oneself when working with a shape — in this case, the cube. The goal was to extract parts of the cube and yet maintain its basic shape. To add dynamism, the sculpture was placed on one of its angles, which changed the horizontal and vertical lines into oblique ones. This structure's interior structure and underground support maintains the piece's balance.
AGAINST THE WALL. 1974
by Alfredo Halegua
Painted steel, 6’ x 5’ x 17’
An earlier version in plexiglass was exhibited at the Baltimore Museum of Art, One-man show, 1974-1986. This sculpture was on loan to the City of Washington D.C. (located at the intersection of Massachusetts Avenue and 21st Street, NW). A wall-line sculpture that bends at an angle, it has a window and a door, suggesting to the viewer that there may be something to see on the other side. This is an architectural statement that has a life of its own.
PIECE OF CAKE, 1981
by Alfredo Halegua
Painted steel, 13' x 13' x 9'
Part of a tetrahedron has been removed. The resulting shape stands precariously on an angle pointing in several directions at the same time and is positioned as a flying object. This heavy "bird" will never fly except perhaps in a viewer's imagination.
GIRON IV (OLGA), 1992
by Rafael Consuegra
Painted steel, 2’ x 1’ x 6’
Abstraction of an angel; the memory of a battle for freedom.
CUBOLIC
by Alfredo Halegua
Painted steel, 9' x 9' x 9'
One-man show, The Baltimore Museum of Art.
This sculpture represents the transformation of a cube. The interior of the cube was carved creating a space yet maintaining its original form. Each side is different, and the spaces created show a variety of intriguing viewpoints revealing what would be called “the inner cube.” Its title is an anagram of bucolic.
11380 N.W. 27th Avenue Miami, FL 33167-3495
305-237-1505
