Eduardo Chillida’s first works revealed an interest in the material that would grow with time and which, combined with his interest in philosophical subjects of an existential nature and his deep roots in his own soil, is one of the hallmarks of his production. His work as a whole, which moves between small scale and public sculpture, is a constant balance of masses and volumes inhabited by air, which have economy of means as a source from where they take on a sense of monumentality which is independent of size. The space the artist is interested in is not the space that remains outside, around the forms, but the one they create inside and which has earned him the title of “architect of the void”.
At the same time, in his sculptures the importance of the material and its qualities is combined with the deep meaning of the form in which they are worked: traditional smithery, the piles of wood, the stonework, all endow his work with a heroic aura, far removed from industrial procedures. His works, shot through with the dignity of the process, rise up as symbols in a world where individual and nature are one and the same.
The objects are intended to have the objective character of industrial products. They are not intended to represent anything other than what they are. The previous categorization of the arts no longer exists.