Instante Presente
Instante Presente
Instante Presente
2025
Instante Presente by Ricardo Rendón creates a field of tensions, frozen moments that unfold in a dance between effort and resistance. Here, each sculpture is evidence of an action, of palpable work, a process fixed in space as a trace of an event that occurred. Rendón does not simply work with materials; he transforms them into witnesses of the work and tension that run through their existence, generating a visual intensity that moves between the physical and the conceptual.
Steel becomes a three-dimensional drawing, a stroke that cuts through the air, stretching and defining it at the same time. The pieces are not just objects; they are records of a specific instant, of a now that remains in the friction between what has been done and what is yet to be done. They are, in fact, suspended moments that resist dissolving, rising as questions, as pulses of a constant tension between the ephemeral and the eternal.
Each work is a practice of resistance, an exploration of the body’s (and the material’s) ability to withstand the forces that shape it. Sculpture is not just form; it becomes a place: a space of concentration where the artist’s action and the material merge into a single entity. In Instante Presente, the work remains a sigh, a blow, an arrow pointing toward the vibrant intensity of here and now. Here, sculpture is not a representation of the world, but an affirmation of the subject in transit. Like the shadows cast by these works, the relationship with what is seen is never direct, but always mediated by the interpretation of what is perceived. The work seeks to restore the perception of the moment as a profound experience, not just as something immediate, but as a process that affects the being in its entirety.
The work in Instante Presente occupies a privileged zone in contemporary sculpture, where the immediacy of the gesture meets the depth of time. It is not just an exhibition of modeled forms, but a field of reflection on the concept of temporality, consciousness, and the body as catalysts for the ephemeral. Here, sculpture is not a self-contained object, but an open process that interacts with the viewer, becoming part of its constitution through the act of contemplation.
Rendón takes ownership of the space-time dimension to explore the notion of what lies beyond static form. With energy that goes beyond the purity of volume, his works are cuts of time itself, frozen in a fleeting fraction, yet full of potential. In this sense, sculpture becomes a machine for suspending movement, for transforming the transient into the enduring, for turning fragility into monumentality.
The exhibition invites us to think that the present is always a construction: a crossing of moments, gazes, and bodies in constant transformation. Like an ephemeral whisper, the sculptures challenge us to recognize what surrounds us, what we are, and what we could be if we manage, even for an instant, to inhabit that suspended space between form and time.
Instante Presente by Ricardo Rendón creates a field of tensions, frozen moments that unfold in a dance between effort and resistance. Here, each sculpture is evidence of an action, of palpable work, a process fixed in space as a trace of an event that occurred. Rendón does not simply work with materials; he transforms them into witnesses of the work and tension that run through their existence, generating a visual intensity that moves between the physical and the conceptual.
Steel becomes a three-dimensional drawing, a stroke that cuts through the air, stretching and defining it at the same time. The pieces are not just objects; they are records of a specific instant, of a now that remains in the friction between what has been done and what is yet to be done. They are, in fact, suspended moments that resist dissolving, rising as questions, as pulses of a constant tension between the ephemeral and the eternal.
Each work is a practice of resistance, an exploration of the body’s (and the material’s) ability to withstand the forces that shape it. Sculpture is not just form; it becomes a place: a space of concentration where the artist’s action and the material merge into a single entity. In Instante Presente, the work remains a sigh, a blow, an arrow pointing toward the vibrant intensity of here and now. Here, sculpture is not a representation of the world, but an affirmation of the subject in transit. Like the shadows cast by these works, the relationship with what is seen is never direct, but always mediated by the interpretation of what is perceived. The work seeks to restore the perception of the moment as a profound experience, not just as something immediate, but as a process that affects the being in its entirety.
The work in Instante Presente occupies a privileged zone in contemporary sculpture, where the immediacy of the gesture meets the depth of time. It is not just an exhibition of modeled forms, but a field of reflection on the concept of temporality, consciousness, and the body as catalysts for the ephemeral. Here, sculpture is not a self-contained object, but an open process that interacts with the viewer, becoming part of its constitution through the act of contemplation.
Rendón takes ownership of the space-time dimension to explore the notion of what lies beyond static form. With energy that goes beyond the purity of volume, his works are cuts of time itself, frozen in a fleeting fraction, yet full of potential. In this sense, sculpture becomes a machine for suspending movement, for transforming the transient into the enduring, for turning fragility into monumentality.
The exhibition invites us to think that the present is always a construction: a crossing of moments, gazes, and bodies in constant transformation. Like an ephemeral whisper, the sculptures challenge us to recognize what surrounds us, what we are, and what we could be if we manage, even for an instant, to inhabit that suspended space between form and time.
Instante Presente by Ricardo Rendón creates a field of tensions, frozen moments that unfold in a dance between effort and resistance. Here, each sculpture is evidence of an action, of palpable work, a process fixed in space as a trace of an event that occurred. Rendón does not simply work with materials; he transforms them into witnesses of the work and tension that run through their existence, generating a visual intensity that moves between the physical and the conceptual.
Steel becomes a three-dimensional drawing, a stroke that cuts through the air, stretching and defining it at the same time. The pieces are not just objects; they are records of a specific instant, of a now that remains in the friction between what has been done and what is yet to be done. They are, in fact, suspended moments that resist dissolving, rising as questions, as pulses of a constant tension between the ephemeral and the eternal.
Each work is a practice of resistance, an exploration of the body’s (and the material’s) ability to withstand the forces that shape it. Sculpture is not just form; it becomes a place: a space of concentration where the artist’s action and the material merge into a single entity. In Instante Presente, the work remains a sigh, a blow, an arrow pointing toward the vibrant intensity of here and now. Here, sculpture is not a representation of the world, but an affirmation of the subject in transit. Like the shadows cast by these works, the relationship with what is seen is never direct, but always mediated by the interpretation of what is perceived. The work seeks to restore the perception of the moment as a profound experience, not just as something immediate, but as a process that affects the being in its entirety.
The work in Instante Presente occupies a privileged zone in contemporary sculpture, where the immediacy of the gesture meets the depth of time. It is not just an exhibition of modeled forms, but a field of reflection on the concept of temporality, consciousness, and the body as catalysts for the ephemeral. Here, sculpture is not a self-contained object, but an open process that interacts with the viewer, becoming part of its constitution through the act of contemplation.
Rendón takes ownership of the space-time dimension to explore the notion of what lies beyond static form. With energy that goes beyond the purity of volume, his works are cuts of time itself, frozen in a fleeting fraction, yet full of potential. In this sense, sculpture becomes a machine for suspending movement, for transforming the transient into the enduring, for turning fragility into monumentality.
The exhibition invites us to think that the present is always a construction: a crossing of moments, gazes, and bodies in constant transformation. Like an ephemeral whisper, the sculptures challenge us to recognize what surrounds us, what we are, and what we could be if we manage, even for an instant, to inhabit that suspended space between form and time.
Instante Presente by Ricardo Rendón creates a field of tensions, frozen moments that unfold in a dance between effort and resistance. Here, each sculpture is evidence of an action, of palpable work, a process fixed in space as a trace of an event that occurred. Rendón does not simply work with materials; he transforms them into witnesses of the work and tension that run through their existence, generating a visual intensity that moves between the physical and the conceptual.
Steel becomes a three-dimensional drawing, a stroke that cuts through the air, stretching and defining it at the same time. The pieces are not just objects; they are records of a specific instant, of a now that remains in the friction between what has been done and what is yet to be done. They are, in fact, suspended moments that resist dissolving, rising as questions, as pulses of a constant tension between the ephemeral and the eternal.
Each work is a practice of resistance, an exploration of the body’s (and the material’s) ability to withstand the forces that shape it. Sculpture is not just form; it becomes a place: a space of concentration where the artist’s action and the material merge into a single entity. In Instante Presente, the work remains a sigh, a blow, an arrow pointing toward the vibrant intensity of here and now. Here, sculpture is not a representation of the world, but an affirmation of the subject in transit. Like the shadows cast by these works, the relationship with what is seen is never direct, but always mediated by the interpretation of what is perceived. The work seeks to restore the perception of the moment as a profound experience, not just as something immediate, but as a process that affects the being in its entirety.
The work in Instante Presente occupies a privileged zone in contemporary sculpture, where the immediacy of the gesture meets the depth of time. It is not just an exhibition of modeled forms, but a field of reflection on the concept of temporality, consciousness, and the body as catalysts for the ephemeral. Here, sculpture is not a self-contained object, but an open process that interacts with the viewer, becoming part of its constitution through the act of contemplation.
Rendón takes ownership of the space-time dimension to explore the notion of what lies beyond static form. With energy that goes beyond the purity of volume, his works are cuts of time itself, frozen in a fleeting fraction, yet full of potential. In this sense, sculpture becomes a machine for suspending movement, for transforming the transient into the enduring, for turning fragility into monumentality.
The exhibition invites us to think that the present is always a construction: a crossing of moments, gazes, and bodies in constant transformation. Like an ephemeral whisper, the sculptures challenge us to recognize what surrounds us, what we are, and what we could be if we manage, even for an instant, to inhabit that suspended space between form and time.
Galería de imágenes
Un acercamiento a lo que presentó la exposición.