1954 · Uruguay
Pablo Atchugarry is internationally renowned for his monumental public sculptures. After experimenting with a variety of materials early in his career, Atchugarry turned to marble as his primary medium. Simultaneously abstract and numinous, massive and delicately carved, his sculptures are reflections on the intervention of the spiritual in everyday life, intended to channel spiritual energies into the spaces they occupy and invite contemplation of the divine. Atchugarry is influenced by the seminal work of Constantin Brancusi and Henry Moore, and often likened to Michelangelo in his similar devotion to working with his own hands (as opposed to the workshop practices of several of his contemporaries.)
Galleries and Exhibitions
Pablo Atchugarry is represented and exhibited by multiple galleries around the world, in countries such as the United Kingdom, France, and the United States. Some of those galleries are Albemarle Gallery in the United Kingdom, Tornabuoni Art | Paris in France, as well as Hollis Taggart Galleries in the United States. Pablo Atchugarry's work has most recently been displayed during the exhibition SummerSelections at Hollis Taggart Galleries in New York, the United States. The exhibition was open from 23 July 2019 until 22 August 2019. Pablo Atchugarry's other most recent exhibitions recorded on Artland include the exhibitions; SUMMER SELECTIONS (11 July 2018 - 31 July 2018) at Hollis Taggart Galleries in the United States and Tension and Dynamism (02 December 2018 - 15 February 2019) at Piero Atchugarry Gallery | Miami in the United States.
Further Biographical Context for Pablo Atchugarry
Pablo Atchugarry was born in 1954 and was predominantly inspired creatively by the 1970s. Conceptualism is often perceived as a response to Minimalism, and the leading art movement of the 1970s, challenging the boundaries of art with its revolutionary features. The movements that succeeded were all representative of a strong desire to evolve and consolidate the art world, in response to the tensions of the previous decade. Process art branched out from Conceptualism, including some of its most crucial aspects, but going further in creating mysterious and experimental artistic journeys, while Land Art brought creation to the outsides, initiating early ideas of environmentalism. In Germany, Expressive figure painting was given another chance for the first time since the weakening of Abstract Expressionism almost two decades, the genre reclaimed its prominence through the brushstrokes of Gerhard Richter, Anselm Kiefer and Georg Baselitz. The majority of the critically acclaimed artists from the 1960s, who had gained success and popularity, kept their status in the 1970s. Andy Warhol was a prominent figure of those two decades, and in the 1970s started to experiment with film and magazine publishing, thus engaging in a cross-platform activity that no other visual artist of such standard had previously undertaken. By doing so, he secured his status as a celebrity. Street art started to appear as a true and accepted form of art towards the end of the 1970s. Jean-Michel Basquiat and Keith Haring were pioneers in demonstrating that their artworks could subsist at the same time in art galleries and on city walls. Fuelled by graffiti art, street art from its earliest days showed that it could endure in a perpetual flux of self-transformation, endlessly shifting the limits of modern art, becoming a truly ground-breaking artistic genre.