At a very particular moment in his life, this work is presented as a fundamental pillar to get back on track. Santurio, after a process of more than seven months, 10 tons of steel and 45 meters of work in his tribute to the Exodus of the Eastern People, in the Ayuí of his native Salto, and also after a much-needed creative silence, makes this monumental, simple and at the same time very complex sculpture, in which it combines technical skill, years of evolution in its particular language, mastery of large formats and a lot of sensitivity.
The natural cycle of life, which occurs both in the crops as in people, is summarized and made manifest. The energy that is received, absorbed, transformed, returned, reborn, sprouts.
Espíritu de la naturaleza
Indian ink, red hot metal tools and water on parchment paper. A unique terroir, slightly salty, that gives life to the vineyard that sketches the landscape. Fresh limpid wines embody colors and subtle notes from their vines. The work of art couples with the place´s atmosphere, the architectural space, and attempts a dialogue with the processing of the grape into wine. Playing with the light frees up the precise balance between the ethereal and fragile quality of the paper, and the industrial scenery. The fresh and limpid wines evoke the transparencies and colors that come after each other until they finally melt into one.
The character of this establishment, the landscape, natural and cultivated at the same time in apparent contradiction, suggested me that the artwork to be introduced in such a unique space should share its antagonism, should integrate with it and, at the same time, typify it. The integration with the landscape perceived through the artwork is sought, as well as the transparency, in constant dialogue with the observer and the space; an artwork with size to scale to fit the meaningful location of the establishment to which it belongs.
Granite words and verses
In this scenery, on one side, the resilient obstinacy that entails the farming labor to turn the uncivilized field into productive olive groves—the humanization of the landscape—and, on the other side, the intense, tough work that represents sculpting granite; they come together in a creative alliance, back to the origins of our civilization, recalling the classic antiquity when vine and olive, together with art and thought, set the material and spiritual basis of Western Europe.
Different Labels… Corks Cardboards of boxes…
Create a Unique formula…
A Non-decipherable alchemy…
It is the ceiling That takes All those
elements To a spiritual world…
Saturated with formulas For a few A
mystery of plastic art And taste…
Mojones esculpidos—Sculpted Milestones
When olives and granite evoke eternity
The sculpture work Carlevaro develops at the olive grove, an authentic visual poem expressed in granite words and verses, blends in suggestive and evocative harmony with the surroundings, where the transformative reorganization of the space prompted by agriculture, flirts with suggestion and revelation, with the magic of the arts, embellishing in its way the contemplative spectator that lives and breathes it.
Olivo centenario–Centenarian Olive
And, why not, the old olives twisted roots with their compulsory serpentine writing? Fidgety repertoire of materials always seeking a new dimension for their formal vocation. […] Their abstracts forms, unavoidable, do not exclude an implicit dimension that impose order to the inert, to the organic, to the natural fantastic and to what is subject of being born, grown, without leaving aside the deceitful forms of life simulation. Just traces, sand eroded by wind, water, matter suddenly lightened: the elusive form of clouds, […]
MIGUEL ÁNGEL BATTEGAZZORE Viaje a través de la materia—Journey Through Matter, Pablo Atchugarry Foundation–2013
The Eternal Spiral
From the life of birding, that sometimes is a shadow of few or many words resembling silence under the trees, come the syllables of her singing and throws us back into the eternal spiral where the Lady in White appears and disappears, lost in between her days of plenty and her eves of nothing. And in that way, someday, we will be able to hear the crackle of the ovens where the pulses and the times and the accents of the unknown are created: because «in most cases, we know nothing», at least we possess the forgotten memory of a lost song.
The work of art that I introduced in O’33 is based on the idea that art is today—as it has always been—the means by which, we humans, seek to be conscious of our own being. The result of that search outlined the respect for the space, taking it into consideration, appreciating the aesthetic richness that the establishment provides, going with it and, if possible, embellishing it. An artistic space intervention is part of the work of art that must adapt to the space, take its fortes and reinforce and complement them to the extent considered necessary. The artwork must seem to have been born there, not placed by force. In the space I intervened, I considered that the formal proposal should be pure and suggesting, with a scale coherent with the pre-existing special elements; and with these elements, unique for the establishment, the place to install it was chosen. As a product of this emotional and cognitive process, the work of art arose; with it, I intended to be conscious of my own being.
This construction was envisaged as a great sculpture and narrative volume; the form, deeply grounded on the land, raises and becomes lighter with a small conical effort over the circular trunk. The vertical design of the winery allows for gravity-flow winemaking, the most traditional and respectful way of wine production; its walls and openings provide natural lightning which is priceless for the work in the winery.
An archetypal mill design; big cement boards with stained-glass windows—whose flashes can be seen from the field—act as walls of an architectural volume designed according to its industrial purpose. The olive mill was made with cutting edge technology and its design enables an oil production process of excellence that prioritizes quality over quantity.
It is a prizewinning construction. The World Architecture Festival held at Singapore in 2015 awarded it with the first place in the category Production, Energy & Recycle.
An old large house built on the early 20th century with an elegant French style, recycled by Architect Marcelo Daglio, where art, architecture and design blend.
In the first floor and mezzanine the warmth of the wood and the contemporary design prevail; the meticulous illumination connects them to the artworks placed there. A deep fusion between art and architecture is experienced in this space; among them, José Pelayo’s intervention of the first-floor ceilings stands out.