Manuel Marín

MANUEL MARÍN (Cieza, Murcia, 1942 - Málaga, 2007).
Untitled, c. 1980.
Polychrome iron. Unique piece.
Attached certificate of authenticity issued by Mrs. Monika Rabassa, widow of the artist.
It has very slight wear.
Signed.
Measurements: 114 x 124 x 85 cm.
This work by Manuel Marín is articulated as an exercise of formal synthesis linked to kinetic art, where the notion of balance replaces any narrative development. The structure, conceived as a mobile, arranges a series of organic forms in primary colors that establish a continuous visual rhythm and suggest a potential movement. The affinity with Alexander Calder is perceived in the calculated asymmetry and in the prominence of emptiness as a compositional element. However, Marín introduces a more corporeal base that stresses the lightness of the whole, resulting in a piece of great expressive economy, where the relationship between color, form and space configures an autonomous, precise and dynamic visual system.

Manuel Marín started bullfighting at the age of ten and made his debut at sixteen, but at the age of twenty he moved to London, where he worked in an art gallery and turned to sculpture. There he collaborated with Henry Moore as an assistant in the creation of bronze works. In 1964 he settled in New York, where he was an art restorer before opening The American Indian Art Gallery, with clients including Warhol, Basquiat, De Kooning and Keith Haring. In 1969 he began making his own sculptures, influenced by mobile art, and in 1970 he presented his first exhibition at the Alan Brown Gallery in Scarsdale. His work has been exhibited internationally and currently has public monuments in the United States and Spain, as well as being present in collections in different countries.