Two Ballerinas - a never known archetype in art history
A never known archetype in art history was developed by Andrés Ginestet- the "two ballerinas". The anatomy of every person without weight problems, shows following the lines of the breasts, nipples, ribs, stomach muscles, groin, etc., the shadows of the two ballerinas. This work follows the same pattern of discoveries like roots, stones, clouds or landscapes that can reveal similarities to faces or human shapes. it is possible to see these two ballerinas in the "natural" body once the principle of reading the human body like any other material is understood. The second torso explains the idea in itself showing the "drawn" lines, as well as the photographic work "pink and blue". The third torso demonstrates plastically the birth of the two ballerinas which emancipate themselves of the basic torso.
" Two ballerinas pink and blue ", Print sobre Aludibond, 300 x 60 cm, 2003.
Two Ballerinas - a never known archetype in art history
A never known archetype in art history was developed by Andrés Ginestet- the "two ballerinas". The anatomy of every woman shows, tracing down the lines of the breasts, nipples, ribs, stomach muscles, groin, the outline of two ballerinas. It is possible to see these two ballerinas in the "natural" body once the principle of reading the human body is understood. The second torso explains the idea in itself showing the "drawn" lines, as well as the photographic work "pink and blue". The third torso demonstrates plastically the birth of the two ballerinas which emancipate themselves from the basic torso.
" Natural ", Clay and Bronze / Patina, 45 x 23 x 17 cm, 2003.
Two Ballerinas - a never known archetype in art history
A never known archetype in art history was developed by Andrés Ginestet- the "two ballerinas". The anatomy of every woman shows, tracing down the lines of the breasts, nipples, ribs, stomach muscles, groin, the outline of two ballerinas. It is possible to see these two ballerinas in the "natural" body once the principle of reading the human body is understood. The second torso explains the idea in itself showing the "drawn" lines, as well as the photographic work "pink and blue". The third torso demonstrates plastically the birth of the two ballerinas which emancipate themselves from the basic torso.
" Drawn ", Clay and Bronze / Patina, 45 x 23 x 17 cm, 2003.
Two Ballerinas - a never known archetype in art history
A never known archetype in art history was developed by Andrés Ginestet- the "two ballerinas". The anatomy of every woman shows, tracing down the lines of the breasts, nipples, ribs, stomach muscles, groin, the outline of two ballerinas. It is possible to see these two ballerinas in the "natural" body once the principle of reading the human body is understood. The second torso explains the idea in itself showing the "drawn" lines, as well as the photographic work "pink and blue". The third torso demonstrates plastically the birth of the two ballerinas which emancipate themselves from the basic torso.
" Two ballerinas ", Clay and Bronze / Patina, 45 x 23 x 17 cm, 2003.
Two Ballerinas - a never known archetype in art history
A never known archetype in art history was developed by Andrés Ginestet- the "two ballerinas". The anatomy of every person without weight problems, shows following the lines of the breasts, nipples, ribs, stomach muscles, groin, etc., the shadows of the two ballerinas. This work follows the same pattern of discoveries like roots, stones, clouds or landscapes that can reveal similarities to faces or human shapes. it is possible to see these two ballerinas in the "natural" body once the principle of reading the human body like any other material is understood. The second torso explains the idea in itself showing the "drawn" lines, as well as the photographic work "pink and blue". The third torso demonstrates plastically the birth of the two ballerinas which emancipate themselves of the basic torso.
" In reverence to Edward Munch ", solid clay, 210 x 120 x 80 cm, 2004.
Dos bailarinas " homenaje a Edvard Munch ", original en cerámica maciza, 210 x 120 x 80 cm., 2004.
