Omar - Pascual Castillo /// On How a Snail Blooms in a Perfect Square (or... Some Notes on Saint Claire Cemin's Scupture Work)

Recently, or, to be sincere, since about fifteen years ago, I have been captivated by the cognitive possibility (read: the possibility of establishing a game of knowing or an enjoyment of knowing) in the fact of finding a certain decisive parallelism in the work of some few sculptors when dealing with roundness and illustrative, discursive or suggestive capacities, in relation to the conceptual richness of the most subversive philosophical or essayist speculations of western thought in the second half of the XX century up until now. Or at least, those who, in my very personal manner, have influenced me in my reflective logic.

In this case I am speaking of or enumerating some sculptors who still prefer to grant the protagonism of their works more to the sculptural object than to installation-based revealing as a “spatial artistic fact”, although it is not for this reason that they despise such an invasive expansion into the derivative courses of their production. As if in that “nostalgia for the absolute” which is an organic object made into a sculpture my sight found something missing in our unbalanced time of imprecise perceptions.