Objects and Sculptures

Cartesian solid

Mixed media

2016-17

Estela maestra (Homage to Nelson Ramos)

Reinforced concrete

2006

Inner Force

Reinforced concrete and iron

2010

Inminente

Landscape intervention - Mixed media

2006-16

Rastro

Mixed media

2010

Kuebiko

Concrete

2016

Hrönir (from Archeometries Series)

Mixed media Concrete

2016

Untitled (from Archeometries Series)

Mixed media Concrete and paper

2016

Construction in 7 volumes

Mixed media, concrete

2016

Repose

Mixed media

2003-16

Poem

Mixed media, 5 pieces

2016

Silence

Mixed media, 4 pieces and fraction

2003-16

Constructive trend

Concrete, 6 pieces

2003-16

Inercia

Mixed media

2008

More geometrico I

Técnica mixta, cemento y textil

2008

Alma de pochote

Concrete and thorns of Ceiba petandra (Kapok tree)

2009

Bitácora.mx

Digital printing, leather binding

2009

Yesterday, today, tomorrow

Etchings and concrete objects

2010

More geometrico II

Concrete and textile 7 x 7 x 4 in

2008

The first work of art by Eloísa Ibarra that I ever saw was located in the park surrounding the lake created by the Palmar dam. It is a tribute to her teacher, Nelson Ramos. It is important to clarify that it is an endearing tribute, far removed from bombastic ceremony. The sculpture is a prismatic shape in concrete with reliefs and perforations that do not alter the volumetric purity of the body. A white stripe crosses it vertically almost as in a relic. It seems extracted from assemblies and installations that the formidable teacher crossed with a similar stroke: like the accumulation of black metal drums pierced by an identical white strip. An installation of black chairs displayed with careful carelessness was crossed by another white stripe. The artwork is certainly a sculptural piece. It so happens that thanks to the emotional closeness between the honoree and the writer of these lines, the gaze brings a feeling of empathy that allows us to imagine surprising possibilities. That gaze, my gaze, reduces the sculpture to the size of a small object, and the viewer locates it almost like a profane domestic little altar. It is no longer in the park against the background of the lake and some native trees; it has placed itself, meekly, in a beautiful corner of the soul. 

Alfredo Torres
The imprecision of limits: object-sculptures, sculptural objects (fragment) from Temperance and Abyss (Mesura y abismo) Museo Juan Manuel Blanes, 2017



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