The work of Andrés Sobrino introduces the paradox of trying to fit intuition in the vernacular genealogy of concrete art. The urban ecosystem is its most efficient source of inspiration. In his works, geometric figures predominate. Distinguished and with a seductive shine, they pose themselves on the surface of the plain, where one can find rectangles, lines that criss-cross, squares or rhombuses. His use of materials naturally related to the industry allow for the artist’s hand to disappear. However, what does not vanish is the warmth of Andres’ artisanal work and the intent he deposits on each work.
Sobrino is interested in the basic elements of paint: light (color) and form (geometry), looking to reach its limits, exploring them with obsession in order to dump them on racional order. The economy of resources in his works, the use of industrial materials and the color in its purest form allow for a higher level of synthesis and freedom for his principle of his constructive order. The artist deepens meticulously in the shape and form of his work, in the conformation of symbols, signs and signals, he questions them and puts in evidence his immense symbolic power.
The subtlety and multiplicity of chromatic combinations are a constant in his works. The variants multiply and the work never ends, recreating themselves based on the specific situation of each space in which it is shown. Hence how crucial is Sobrino’s natural intuition who, as a constant editor, deploys with success the action of the forms in the empty space of each montage; being there, particularly, where his subjectivity is introduced.