Reviews and comments

There are metal trees that we dont´t know if they are died or reviving, but it´s clear that they attract our look. There are robust, illogical forms, full of details and there are world maps of impossible worlds and there are also many different shapes that force the spectator to stop in front of them.
JAVIER MARTIN “Ideal” de Jaén 15- I- 2005

Under the title “Lived books”, Àngels Freixanet suggests an artistic game in different ways, not only respecting the aestetic development of the collection, but also discovering the background behind every original work. The ones who love books will undestand immediately the transformation that they suffer in the artist´s hands into some objects with an intrinsic value, beyond the contents we can associate to them.
HECTOR LOPEZ “Heraldo de Aragón” 23- XI- 2000

Àngels Freixanet recovers what seems dead and manage to give it a new life, a life that isn´t a replica of the earlier, but a resurrection of the concepts.
JOSEP M. CADENA “El Periódico” 13-I-98

After this, it will come the time that she will fall in love with the old machines, having a premonition that their former lives leave an energy into the substance that it transfers to who knows how to receive the gift. Thus, she will begin to work the iron and the wood making her sculptures with iron found in the country side or in the streets and with wood that the sea has placed on the sand or that an old fisherman has given to her when it has have trapped in his net.
MARIA DOLORS MUNTANE “Artes Plásticas” Nº 64 – 1998

The title of this exhibition, “Sculptures to live with”, refers to the conception of the sculpture and that is essential in Freixanet´s art. She doesn´t conceive the sculpture only as something to see, but she believes that it´s fundamental to touch it, to live with it.
JAUME VIDAL “El País” 21-V-96

The Freixanet´s sculptures mix winged shapes that have their horizon in the sky with others that have their roots in the ground, where the tree trunks give them a spontaneous vitality shaped in the same way one might find them.

If we hadn´t evidences that, in spite of its rich and stimulating arrange of possibilities, nature hasn´t been able to make similar forms, one could believe that Àngels Freixanet´s sculptures are made by a natural phenomenon, not by the human action.
RAMON CORNET “Regió 7” 15- IV- 89

With the series of horses that the sculptress presents to us, we could think that he has joined the new trends of figuration that dominate the paniting now, which, because of their difficulties, have found a few fellowers in sculpture , with exceptions like Francisco Leiro (wood) and Jaume Plensa (iron)

Àngels Freixanet goes to the graveyards where the industrial scraps are waiting for the ultimate death and she comes to a miraculous and evangelical task: the resurection.
RAFAEL MANZANO “El Noticiero Universal” 15- VI- 84

She inserts materials taken from the reality in the artistic sphere in order to explore their qualities, raising prefabricated fragments to the category of art.
CONXITA OLIVER “Avui” 14- XI- 82

She combines the iron with acid-treated cement, in order to achieve similar shades of the metal rust. Generally she utilizes scraps, transforming things thought as useless in useful ones.

All of this gives a materialized projection to the Freixanet´s work, sometimes by the means of the rise of the iron, sometimes by the means of its roots in the ground…and she transforms the sculpture in an object that it isn´t difficult to qualify as the magic in the center of the light.
FRANCESC RODON “Treball” 4- X- 79

All her work presents familiar connotations to the “poor art” to the extent that the material exposed to rust and corrosion of the acids brings this touching sensation of helplesness, offering a wide new spectrum of possibilities to what in another time was useful machinery or objects with a certain beauty.
ROSA MARIA DE LA HIDALGA “La Estafeta Literaria” 1- XI- 76

It seems as if the artist has built her sculptures in the air, placing there every piece of scrap metal, and that they welded to each other misteriously, following a rhythm in the space, a well-ordered and harmonious rhythm.
FERNANDO GUTIÉRREZ “La Vanguardia” 29- XI - 75

She has force and even a certain brutality, that contrasts in some way with the poetic impulse of the plot expressed in a title “Birds and labyrinths”.
SANTOS TORROELLA “El Noticiero Universal” 25- XI- 75

Freixanet follows the path of the great Julio González and his successors, among whom we found César in a certain moment. So, she could retrieve for the art those things that society has leaved as a useless ones.
ARNAU PUIG “Gazeta del Arte” 1- III – 74



Treballar ferro m´és plaent.
A poc a poc vaig estenent
en ell petjades de la gent,
entrant, sortint
pel llarg dolor del fosc lament,
el laberint.
Más que la complicidad con la naturaleza en su tarea de erosión, desgaste y recuperación, lo que realiza Maria Àngels Freixanet es dar una cuarta oportunidad a lo que fue naturaleza (madera, hierro, carbón), para ser máquina, más tarde chatarra de desguace y finalmente la reconstrucción de la escultura. En el ojo de la escultora ha habido una sabia combinación de geometría y compasión, la geometría de la materia residual y la compasión de salvarla del olvido y la deconstrucción. Estamos hablando de impulso básico de una artista que con los años ha conseguido domesticar el uso de estas ruinas de madera y hierro hasta conseguir hacer con ellas joyas o muebles o pequeños apliques de pared con la delicadeza de un encaje de metal, sin que por ello haya abandonado la obra monumental, hiriente en el volumen que vacía en la encrucijada de dos calles. Monumento se llama a estas piezas.

De partida, sin crearse mayores problemas, Àngels Freixanet establece una complicidad con la naturaleza en su trabajo de desgaste y recuperación. Sus objetos tienen los colores de la erosión y las heridas de la ruptura final. Por esas llagas o esas bocas los metales recuperados hablan en su lenguaje propio, libres de la tiranía que los había condenado al silencio de los residuos.

Borges knew that books were dangerous. He knew that libraries contain all the terrors and weaknesses mankind proudly manifests. Books lived. But do we actually live books or do books “live us”? Ask Àngels Freixanet.
Al contrario de tantos artistas que convierten el arte en chatarra, Àngels Freixanet trata de convertir la chatarra en arte. Justamente lo que buscaba la alquimia. Justamente lo que buscan escritores como Juan Marsé, que consigue crear literatura con materiales de derribo. Moderna alquimista, Àngels Freixanet hace de los materiales más humildes- el desecho industrial- la materia prima de sus esculturas. Para ella, cualquier fogón es atanor, un soplete posee vocación de cincel. Y se permite dar al hierro un leve acabado de cuero, porque el metal puede también ser piel.
la felicidad de las rocas vuelve
a brillar intacta. La madera
sueña tus estrellas, rutilando, gotas
de agua permanecen
densas de placer en esperanza,
Àngels, en esta
contenida precisión que tú quisiste
redimir por la quebrada
ruta sin pavor hacia los dioses
que ya conoces, con que tú juegas.
Vivim una època seduïda pels nous mitjans tecnològics, suports que poden arribar a condicionar notablement el llenguatge artístic. Com a contrapunt, l´obra d´Àngels Freixanet és una mena d´emblema del treball artístic concebut encara a la manera romàntica, com un esforç físic per dominar la matèria i com un esforç intelectual i creatiu per aconseguir-ne l´expressivitat.
Àngels Freixanet dimostra chiaramente col suo lavoro, che ho intravisto, di sapere tutto ciò, di conoscere le tradizioni non scritte del nostro lavoro, in continuo devenire a fluire, l´insofferenza per i codici, la passione del ricercare e di sperimentare, di riaprire i giochi, rimettere nel flusso detriti, con rabbia e con amore, riffondendo materiali negli antichi crogioli della fratellanza nomada e alata.
Freixanet eleva lo cotidiano a la categoria de arma para la revolución individual previa a toda transformación profunda de la sociedad y, además, intenta ilustrarnos acerca de la relatividad de la estética.
Nada de objectos assentes em pedestais…Pelo contrario, os ferros emergentes de outros usos mais práticos, emergen do solo, como se a terra os exibisse por inspiraçao da Freixanet. Ferro domado a autogénio.
La necessitat de descarregar la violència continguda junt amb la satisfacció que suposa el procés creatiu resultant,és la barreja que actua de motor en l’obra de Freixanet. Violència que tots portem a dins però que sempre es fruit de l’experiència, de la injustícia, del sofriment…
Disseny de Sergi Selvas ©2008 Tots els Drets Reservats