{"id":4290,"date":"2023-06-18T16:25:44","date_gmt":"2023-06-18T16:25:44","guid":{"rendered":"https:\/\/jordidiezfernandez.com\/the-steel-tamer\/"},"modified":"2026-02-08T13:01:29","modified_gmt":"2026-02-08T13:01:29","slug":"the-steel-tamer","status":"publish","type":"post","link":"https:\/\/jordidiezfernandez.com\/en\/the-steel-tamer\/","title":{"rendered":"The steel tamer"},"content":{"rendered":"\n

Article published in Magaz\u00edn<\/strong><\/p>\n\n

At the edge of the 1,000 meters high Puigsagordi, Jordi D\u00edez finds the necessary inspiration to transform his ideas into art. The sculptor born in Valladolid who has lived between Barcelona -where he spent his childhood- and Madrid -where he studied Fine Arts- about twenty years ago he decided to settle in Osona. Here he has consolidated an artistic career that has taken his works to museums, galleries and public spaces all over the world, with a permanent presence in cultures as different as Thailand, Saudi Arabia or the United States, where he has just received his latest assignment.<\/p>\n\n

Just as his work plays\nwith opposing effects, his life has always been a duality between the\nurban and rural world. “When I arrived in Barcelona I spent three years in the\nBarceloneta because it fascinated me. Em tornava boig perqu\u00e8 venia precisament de\nI lived near l’Escorial in a house lost there and needed the city” until\n“After three years, I’ve had enough for a lifetime” and it’s going to be\nto install Centelles in what has become “a path of no return”, because it has\n“ara quan vaig a la ciutat em sembla excessivament trepidant per mi. Al camp, a\nthe mountain is like the pulse of the earth is essential”.<\/p>\n\n

Wrapped in woodland, D\u00edez has\ndiscovered his creative universe: “Nature inspires me in an abstract way, you are\nmuch more aware of the cycle of the seasons, of everything, of the night and the day, of the\nheat and cold” and it is at this time of the year when “cold activates me,\nm’inspira. Cold is pure and hard sculptural energy”. Especially for “als\nsculptors of my type, that we work with material, which is a hard and difficult work.\nyou arrive home very tired”.<\/p>\n\n

Starting from a training\ntraditional, D\u00edez has always been a figurative artist that has worked with\nall the possible materials in his sculptures. “My reference is\nMiquel \u00c0ngel and I have sculpted a lot of stone”, as the minimalist figure of the saint,\nbarefoot and pointing at the sky, which crowns the doorway of the church of Sant\nHip\u00f2lit de Voltreg\u00e0 since the rehabilitation was completed in 2006. The\nterracotta or bronze foundry are some of the other materials with which we use\nexpressed himself until he realized that the sculpture was there, in the large\nstructures that subjected the works that he had to fund.<\/p>\n\n

It is the moment that gives a\nhis career to experiment with stainless steel, a material that has been used for many years.\nhard and resistant for a work that generally is located outdoors but that\nalhora li dona una aparen\u00e7a de modernitat. “Estem al segle XXI i l’art ha de\nto be representative of its time. It is possible to know the history of mankind\nknowing the history of its art, how an ancient civilization was through its art”.\nand from this approach “I started to investigate with another one\nllenguatge”. First it will do it with iron, playing with several rovellades that\n“I also found it aesthetically obsolete” until, as a consequence of this\nThe work will arrive at the steel with the premise of maintaining a career “of a\nvolitionally, to keep myself away from tendencies or to allow them to come in.\nthe right information so as not to be contaminated by other references”.<\/p>\n\n

It is in this search for\nnew artistic expressions that “are beginning to take on great importance\nthe inside of the sculpture, not only the outside, and this brings out the\nlleugeresa” that irradiates his creations. “L’acer, as it lacks color,\nin reality, he started to give me some shades that he could not give me any other.\nmaterial”, among them that the light crosses the work “and at times it seems that\nestic fent una cosa com amb no mat\u00e8ria”.<\/p>\n\n

This immateriality will\nto start working with the floating sculptures, held by steel cables.\n“En el fons \u00e9s com que no busco representar una cosa sin\u00f3 el que anima aquesta.\nthing, as its inner spectacle, the energy”. Although his works\nfigurative or with natural elements – such as a rose that is embedded in a fa\u00e7ade\nof Centelles- part of the enc\u00e0rrecs, he also lets himself be carried away by his own\nown impulses and creates spontaneously because “ideas follow one another,\nhave a peak of intensity and if you don’t pay attention it starts to decay. Sometimes\nyou want to reprimand them and you no longer understand what was encouraging you”. One of these works\nspontaneous will be a tribute to Lita Cabellut, renowned but little known at the same time\npainter born in Barcelona who lives in La Haia. “Quan vaig entrar en contacte\nwith his work I was moved. Em vaig posar en contacte amb ella i li\nvaig dir que anava a fer una versi\u00f3 d’acer d’un dels seus quadres i em va dir\nI’m delighted.” From this project, conversations have already begun to consolidate a\nnew creative line versioning other pictorial works in steel.<\/p>\n\n

The multiple readings of Ildefons Cerd\u00e0<\/strong><\/p>\n\n

One of the most important works\nJordi D\u00edez’s emblematic works is the one dedicated to Ildefons Cerd\u00e0, which crowns the\ntraffic circle located at the end of the avenue that bears his name in Centelles.\nInaugurated for the main celebration of 2010, when it will receive this enc\u00e0rrec of the\nDiputaci\u00f3 de Barcelona to commemorate the Cerd\u00e0 Year on the occasion of the 150th anniversary of\nthe approval of the planning of the Eixample de Barcelona, D\u00edez knew him well.\nlittle thing, of the most illustrious centellenc. That is how he began to read the\nhis General Theory of Urbanization<\/em> for the\nimmersing himself in the figure of the engineer, who does not hesitate to consider “a\nhumanist who gave everything for others”.<\/p>\n\n

Dels nou esbossos que va\nthree projects were left and the one chosen by the mayor Miquel Arisa was the\nCerd\u00e0 creator, where his figure advances with a firm step with an asserting hand.\nenlaire i l’altra a terra enfilat en una peanya d’esferes. “Here I explain that\nhuman works are the result of contact, conflicting or not, between the\nthe immutable, pure mathematics, Deu, and the human orbit. This contact generates\na series of consequences and here he is pointing out the point where the inner sphere\nhas come into contact with the external sphere. This contact already generates a\nseries of Fibonacci spirals, one opposed to the other, because the one of\nthe one below rotates with the galactic rotation and the one on the outside with the opposite rotation, which is\nexpansion. And these spirals are growing to form a lattice\nof octogons that is the Eixample”, says its creator.<\/p>\n\n

\"\"<\/figure>\n\n

Michelin star sculptures<\/strong><\/p>\n\n

The sculptural work of\nJordi D\u00edez also combines with gastronomy. The symbiosis between two of the arts\nthat most define our country can also nurture the expectation about the\nStovalles dels m\u00e9s reputats restaurants amb estrelles Michelin. A vessant of\nthe work of the sculptor that “interests me very much because it is a type of sculpture\nutilit\u00e0ria. It is recovered as a very old tradition of making art out of things.\nquotidianes”.<\/p>\n\n

The first experimentation\ntook place at the Celler de Can Roca, when the sculptor received the position of\nto design some covers for the use of diners and was inspired by the vegetation.\nMediterranean, with a few branches of pine and olive trees at the m\u00e0nec. L’enc\u00e0rrec tenia dues\nparticularities. Accustomed to making works of great dimensions, here he is\nthey demanded small fish and moreover with a series that were all identical,\nencara que “les numerava perqu\u00e8 com que les feia a m\u00e0 no n’hi hi hi havia dues\nd’iguals”. Other terracotta fishes in fusion with steel are also present at\nl’establiment giron\u00ed dels germans Roca.<\/p>\n\n

Another restaurant\ntriestrellat that has works by D\u00edez is the \u00c0bac. Per a Jordi Cruz va fer\ndifferent table centers that represent the plant of the carbassa and go from the\nappear during the tie to end up serving as a safata to present the small\nfours. In the garden of the Barcelona restaurant there were also exhibited different\nsculptures, the last Winged Man 2.0, which can be contemplated since a few years ago.\nsetmanes.<\/p>\n\n

This collaboration has also been in the field of oenology, with the presence of a stainless steel monument at the Pere Ventura winery in Sant Sadurn\u00ed d’Anoia and the Age Quod Agis, permanently installed at the Sant Joan de Salem chapel of the Can Bas winery.<\/p>\n\n

View original article<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

Article published in Magaz\u00edn At the edge of the 1,000 meters high Puigsagordi, Jordi D\u00edez finds the necessary inspiration to transform his ideas into art. The sculptor born in Valladolid who has lived between Barcelona -where he spent his childhood- and Madrid -where he studied Fine Arts- about twenty years ago he decided to settle […]<\/p>\n","protected":false},"author":1,"featured_media":4514,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[32,12],"tags":[],"class_list":["post-4290","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-post-en","category-uncategorized"],"acf":[],"_links":{"self":[{"href":"https:\/\/jordidiezfernandez.com\/en\/wp-json\/wp\/v2\/posts\/4290","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/jordidiezfernandez.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/jordidiezfernandez.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/jordidiezfernandez.com\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/jordidiezfernandez.com\/en\/wp-json\/wp\/v2\/comments?post=4290"}],"version-history":[{"count":5,"href":"https:\/\/jordidiezfernandez.com\/en\/wp-json\/wp\/v2\/posts\/4290\/revisions"}],"predecessor-version":[{"id":7920,"href":"https:\/\/jordidiezfernandez.com\/en\/wp-json\/wp\/v2\/posts\/4290\/revisions\/7920"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/jordidiezfernandez.com\/en\/wp-json\/wp\/v2\/media\/4514"}],"wp:attachment":[{"href":"https:\/\/jordidiezfernandez.com\/en\/wp-json\/wp\/v2\/media?parent=4290"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/jordidiezfernandez.com\/en\/wp-json\/wp\/v2\/categories?post=4290"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/jordidiezfernandez.com\/en\/wp-json\/wp\/v2\/tags?post=4290"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}