Eduardo Pérez-Cabrero Batlló
Eduardo Pérez-Cabrero is a plastic artist, born in Barcelona in 1961. He works alternately between his hometown, the Costa Brava and Miami (USA). His work is characterized by the influence of the Mediterranean Sea and its culture; his production consists primarily of sculptures with organic references. He works with rounded and sinuous shapes in large formats, created in aluminum, brass, resins, cement and ceramics.
His work is sincere, simple, pure. An exaltation of “Joie de Vivre”, it is optimistic, clear and direct. Conceptual artwork messages parallel his way of understanding life; in some cases, appearing as intriguing and mysterious, even enigmatic, a side that invites us to see these works in a more introspective dimension.
The Mediterranean art in which he is immersed is characterized by the fusion of sensuality with impressionism. In the Mediterranean environment, impressions are incomparably more energetic. The sea is bluer; the wheat more golden; the sand more material; the sky brighter; a smile more open.
His talent presents itself as a continuation of the artistic and plastic creativity of a family saga. The uncle of his maternal great-grandfather, the industrialist Josep Batlló (1845-1934), entrusted his friend Antoni Gaudí with the construction of his family home, the renowned “Casa Batlló” on Paseo de Gracia, representative of Barcelona’s modernism at the beginning of the 19th century. Maestro Pérez-Cabrero (1847-1907), his paternal great-grandfather, was a composer and conductor at the Liceo Opera House, Barcelona’s crown jewel for music and opera, both then and today.
Eduardo Pérez-Cabrero is interested in fleeting impressions, the appearance of things, surfaces, and the content of what he observes around him.He explores life from his epidermis, captures vibrations and transmits them to his pieces directly. He distills the essence of visual impact, processing it and generating pieces with a simple, playful design, using an ingenious production process.
His work reflects his skill in the expressive language of shape and color, leaving an indelible impression that is both rational and dreamlike. Abandoning traditional methods of sculpture, he favors a more contemporary, impulsive form of expression. Not allowing himself to be influenced by traditional aesthetics, his work is refreshingly free and unconstrained by convention. Eduardo uses the Mediterranean colors par excellence: the white of Cadaqués, the yellow of sunflowers; the green of the pine trees on the Costa Brava; the blue of the sea in Formentera; the golden hue of the fields of Empordà.