The work of César Orrico offers us a transversal look which comprises from the classical paradigm to modernity. A contemporary figuration that fuses originality in depiction together with the fundamental principles of sculpture.

Starting from a naturalistic treatment of the body and through precise and fluid modeling, the artist gradually denudes his works until arriving at a synthesis of form, giving rise to figures endowed with an emotive aesthetic refinement. In this process, we observe a profound knowledge of anatomy, where the human body occupies the centre of César Orrico’s artistic universe; knowledge which is the fruit of the artist’s fascination with anatomical treatises dating from the Renaissance up to the present time.

His work explores diverse formats, ranging from works of a monumental nature through to small scale sculptures full of expressiveness and beauty. Likewise, over time, we find in his work an extraordinary knowledge of the materials used in sculpture, elements which the artist merges with elegance, making them flow together spontaneously in his figures, where the mixture between coldness and warmth creates the strength of each representation.

One of the most outstanding qualities of César Orrico’s works is the sensuality conveyed in the movement of his figures, endowed with a portentous kinetic energy, emanating from the tension contained in the bodies and the hands of his models. The strength and the dynamism of the body in these depictions are in contrast to the serenity of the facial expressions. This duality gives rise to a profound and extremely intense dialogue that seduces observers and leads them to explore the diverse aspects of human experience and the transition between different states of mind.

In essence, César Orrico presents figurative art full of symbolic value where his sculptures transport us to a mystical and spiritual world, in which the rituals of ancient cultures come to life. A world in which man and nature achieve a transcendental and almost magical relationship.