Julen Agirre Egibar (Azpeitia, 1984), artist. He is currently completing his thesis in the Painting Department of the Fine Arts Faculty of the University of the Basque Country. His artistic practice has focused mainly on drawing although he has also experimented in a number of other disciplines. He is especially interested in the area of artistic practice that lies between architecture and sculpture...
Centroa came about as the result of three working materials.
1.- The artistic process entitled Centrale. Taking drawing as the basic discipline, the proposal involves developing shapes in an area of artistic practice located between architecture and sculpture, with the aim of blending and diluting the boundaries between both disciplines. The aim, therefore, is to revisit the latest works of this project.
2.- The experimental project entitled Etxe Arrazionala [Irrational House]. Etxe Arrazionala is the development of a house created from imagination. In this case, using the possibilities offered by the house to work on, the aim is to delve into formal experimentation.
3.- The de-contextualisation of the railing of the house in the film Lost Highway by David Lynch and the development of its form. The artist focuses basically on the external railing of the house and experiments with its shape. In his proposal, he leaves to one side the function of the railing and emphasises repetition-based construction processes.
Three lines of work, three materials are the basis of the Centroa project. And underlying all this, a reflection on form within the creative process and the development of experimentation. In this proposal, bearing in mind the common feature of the material and, on the other hand, taking into account the idea of the process, what I propose is to deal with and revisit all that material. They are materials that question architectural language and by emphasising formal aspects through drawing, I want to build pieces that enable other readings. It is important to place the pieces in that vague point in which architecture, sculpture and drawing merge, described from the binary viewpoint as well as from the tension of ambiguity, as I propose to make these indispensable.