Inauguración de la nueva página de Maite Defruc. Más visual, moderna y estética
Maite Defruc is born in Cartagena. The drawing marks from her infancy discovering in her youth her real vocation, the sculpture.
She is a meticulous sculptress who can obtain the maximum profit of the bronze investigating in the volumes and textures and getting forms with great force and sensitivity simultaneously.
She initiates her artistic training being present at the School of Applied Arts and Artistic Trades of Murcia. She studies diverse skills in Madrid: stone carving with Pedro Panadero and Smelting in Nacho Estudio of Art.
In 1975 she mounts her own workshop in Pozo Estrecho in which she personally makes all the process that undertakes her work using the oldest techniques of "the lost wax" casting. Later in Paris she goes on with the study of the small sculpture in jewellry, making now from these small pieces to monumental works as it can be the Monument to the Spanish Constitution of seven meters high, The Broken Christ for the Monastery of Verdúm (Ossuaire de DOUAUMONT) in France with a height of 2.20 m, the Monument to the Radio Amateur with 8 meters, Blood Donnors of Murcia, Vth Centenary of La Palma, CARTAGENA, and so on...
42 x 19 x 12 cm
40 x 20 x 12 cm
35 x 16 x 12 cm
57 x 26 x 17 cm
30 x 14 x 8 cm
29 x 21 x 10 cm
67 x 18 x 22 cm
43 x 21 x 16 cm
44 x 21 x 17 cm.
47 x 32 x 18 cm
32 x 17 x 13 cm
28 x 20 x 12 cm
35 x 26 x 10 cm
25 x 16 x 9 cm
25 x 15 x 11 cm
34 x 44 x 12 cm
39 x 29 x 10 cm
35 x 28 x 11 cm
Mar y tierra
47 x 34 x 13 cm
40 x 14 x 19 cm
90 x 25 x 23 cm
84 x 30 x 18 cm
85 x 24 x 22 cm
20 x 14 x 10 cm
20 x 13 x 10 cm
24 x 14 x 12 cm
Mujer con cuarzo
20 x 13 x 10 cm
34 x 13 x 16 cm
34 x 13 x 12 cm
Torso con piedra
LOST WAX CASTING
The artistic casting to the “lost Wax” is a very antique technique, it is already done from the Etruscan and other primitive countries. Donatello casted his bronze wors, Benvenuto Cellini also did the same with his Perseo, and Leonardo Da Vinci with his horse heads and with his horses in movement he did a huge investigation about the theme.
It is astonishing contemplating these pieces for which it seems the time has not passed. At this time was the sculptor who carried out the whole process craftsmanship that went into the making of a sculpture, carved in marble, wood or bronze melted “lost Wax”. Nowadays this is not so, since it is often not the sculptor who casts his work, as this is a very complicated process and painful.
I started to melt my work 43 years ago. Over the past 15 years I have done some research work on how they melted (as Pliny S. VII b.c) the most primitive cultures, getting to the conclusion that it is possible to cast in bronze in the field, with pieces of wood and with a simple installation.
My work has the peculiarity of being melted by my getting some special effects and results different from those obtained by other artists. These are characteristics of my work "movement", "sculpture in the air", "textures with transparencies",” with thicknesses of just 2 millimetres" etc.
2000: Espacio Eiffel. París 2001: Museum Arte Moderno (MURAM) 2014: Cante Flamenco Lo Ferro, Spain 2016: Museum Arte Moderno (MURAM) / "1st Spanish Embassy Gulf Tournament", United Arab Emirates, Dubai
2000: Espacio Eiffel. París 2001: Villanueva de la Reina. Úbeda. Jaén / Hotel Principe Felipe. Hyatt de la Manga del Mar Menor / Guadalest. Alicante. Sala de exposiciones "Casa de Orduña" 2002: Emiratos Árabes Dubai. U. A. E. 2004: Espacio Eiffel. Paris / Escultura y Toros. Palacio Almudí 2005: Galeria Toronto. Barcelona
1990: Callejón de la Parra. Cartagena 1991: Ateneo. Madrid / UNESCO. París / Euroart. La Manga / P. San Esteban. Murcia 1992: Palacio Marqués de Campos. Valencia / Galería Tuset. Barcelona Olímpica. Monografía sobre el deporte / Exposición Universal EXPO9´92. Sevilla / Salón Internacional del Caballo "Pura raza española". Sevilla / I Feria Regional de Arte. PLURART´92. IFEPA. Torre Pacheco / Exposición Nacional. Ayuntamiento de Yecla 1993: UNESCO. París 1994: Caja Murcia. Cartagena / PLURART´94 / Galería Caja Murcia. San Pedro del Pinata / Centro Cultural San Pedro del Pinatar / Caja de Canarias. Las Palmas / Fundación MAPFRE. Las Palmas / Molinos del Río. Murcia / Real Club Naútico Las Palmas / Japón. Tokio 1995: Sala de exposiciones Muralla Bizantina. 7x7 “Quince años de escultura”. Cartagena / C.I.C.C.A. Las Palmas 1996: Centro Cultural. La Unión / Hotel Príncipe Felipe. Hyatt. La Manga del Mar Menor / Museum Expression. Carrousel Du Louvre. París / Galería Santa María de Guia. Canarias / Santa Catalina. Las Palmas 1997: Callejón de la Parra. Cartagena / Hotel Príncipe Felipe. Hyatt. La Manga del Mar Menor / Museum Expression. Carrousel Du Louvre. París 1998: Club Prensa Canario / Museum Expression. Carrousel Du Louvre. París 1999: Museum Expression. Carrousel Du Louvre. París / Emiratos Árabes. Dubai. U.A.E / MUTEC´2001. Firamünich. München Order Center de Münich.
1981: Centro Cultural de la Villa de Madrid 1982: Galería Domingo Torres. Cartagena / Artista invitada en el Simposium de Medios Audiovisuales de Madrid 1985: Théatre International dÁrt Contemporain. Centre George Pompidou. París 1986: Centro Internacional de Arte Contemporáneo. París. / Formas y Colores. París / Centro de Arte. Palma de Mallorca / Galería Spacio Delpha. París 1988: Galería Wssell. Cartagena / Galería Velázquez. Valladolid 1989: Art Alicante / Feria Internacional AR INTER 89. Valencia
1979: Centro Cultural. Melilla.
2002: 20 Años de Arte. Cartagena 2006: Plurales. Cartagena
1990: Exposición de Artistas Españoles en Francia / Ateneo Iberoamericano. París / Galería Callejón de la Parra. Cartagena / Grupo Garum. Asamblea Regional de Murcia. Cartagena 1992: Grupo Garum. Centro Cultural Caja Murcia. Cartagena 1994: Köln. Alemania 1996: Escultura en la calle. Murcia
1985 a 1989: Exposición con los Independientes. Grand Palais / París. C.I.A.C. Centre International dÁrt Contemporain. París 1986: Europalia. Amberes. Bélgica. Bienal de Escultura. Zamora 1987: Pintura y Escultura Contemporánea. Muralla Bizantina. Cartagena 1988: Muralla Bizantina Cartagena. Intercambio Cultural. Córdoba 1989: Exposición de la Asociación Española de Pintores y Escultores. Alicante. Mediterráneo Escultores. Mazarrón
1973-1979: Diversas exposiciones en Murcia, Cartagena, Yecla, Lorca, Torrevieja y Alicante
MONUMENTS & CUSTOM WORKS
2000: Trofeos Triunfo. Madrid 2001: Museo Casa Orduña. Alicante 2006: Monumento V centenario La Palma. Cartagena
1991: Museo V Centenario. Huelva / Museo V Centenario Aracena. Huelva / Museo F. C. Barcelona. Barcelona / Museo UNESCO. París 1992: Trofeos de los Premios América. Universidad de Murcia 1994: Monumento al Radioaficionado. Cartagena 1996: Premio Stendhal (Fundación Consuelo Berges). Madrid 1997: Galardones Olivo 97. Cante Flamenco / Monumento al Doctor Ramón Arcas. Torre Pacheco 1998: Premios IV Certamen de Teatro / Premio Stendhal (Fundación Consuelo Berges). Madrid 1999: Monumento al Donante de Sangre de la Región de Murcia / Carrousel Du louvre. (Victorias). París
1975: Mural Cartagena / Monumento a Marín. La Palma. Murcia 1978: Monumento al Niño. UNICEF. Murcia / Monumento a Gregorio Madrid. Torre Pacheco / Escenografía “Petición de mano” de A. Chejov. San Javier
ARTICLES AND REVIEWS
... these sculptures in bronze have also a very real movement and at the same time delicacy, but a delicacy that never falls into the vulgar and the disproportioned making the whole musical forms without falling into that strident and tiresome sonority...
Carlos Rodríguez Iglesias
From the Royal Academy of Fine Arts of San Fernando, Madrid
... With a refined technique, detaches in each of her works her inner world. A world full of tenderness, delicacy and strength. Because what calls powerfully the attention is the fusion of force and delicacy.
Maite Defruc, knows the composition and knows how much should further detail, and as this is at the service of all the whole...
Carlos Rubiales Morales
Professor of Fine Arts from the University of Seville
... Maite Defruc makes her work with love and uses a modern and the same time respectful with the Mediterranean Sculptoric technique, something that remarks the grace and elegance of her figures...
Art Critic. Murcia
... From the tip of her fingers (from the soul?) escape to the sculptress her creatures; young ladies, horses, children, tortured beings in which she takes down the marginal drama…Dreaming with new ways, Maite Defruc officiates the liturgy that goes from the clay to the bronze melted by hersef. Watcher then by the proteic fire, she will then win over the complicated technique, precisely the same that was used by the Etruscan, skill that only a few women master...
Writer, critic and painter.
... In her sculptures we admire again the movement of the bodies in the space and her original way of translating them into different dimensions.
It appears a double meaning in the shapes, related no only to the body in itself bu with the empty space of the surrounding...
Art Critic. Cartagena
... In this occasion, the turn arrives to the sculptress. A work in the Mediterranean tradition that goes from the most ortodox figuration in portraits and classic attitude figures to the collection that now we introduce, with a rupture character inside the classicist conception.
With Maite Defruc we introduce one of the most interesting sculptress of the regional art with a very successful projection...
Amparo Marzal Martínez
Professor of History. Murcia
... The bronze assures the permanent strength through the time. This is the great key offered by the sculptress Maite Defruc, in definitive possession of the complex technique of the lost wax, which so much precision demands to the artist.
Maite Defruc is a Mediterranean woman, who lives very close to the sea. Certainly, the beautiful kaleidoscope of works by her carved in this occasion is the deepest and touching Mediterranean cry of the woman as light and root of the tree of life...
Vitorino Polo García
Professor of Spanish American Literature
... Maite Defruc’s bronzes which captivate quickly the interest of the observer because of their textures, light and shadow lights, their volumes, are outstanding too for a certain classic sediment, far, however from the academies and by a big strictness in the compositive lines and in the subsequent shape. Deeping a bit more, one can soon notice in the totality of her works the delicacy and the conscient realism but without going down to exaggerated details...
Federico Lara Peinado
Universidad Complutense de Madrid
... Under the ceiling - or the sky, one never knows-of her workshop all these beings that before being born, come to the world, have burnt to Maite her entrails. In a certain occasion, with the motive of her first individual exhibition of the sculptress, we wrote about that suspicious that in front of her work, Maite would not walk ready to separate her intimate fibres of her own blood...
... Maite Defruc through her Spanish horses expresses two sensations clearly defined. On one hand there is the mastery of the technique, the perfection of her creation and the inner discipline, that every artist that is to be precise must have, is translated into those taimed steps underlining that prettiness and that mastership of their own instincts, that give the horses the docility, the poise and their great serenity...
Emilio Loshuertos Nebra
Antropologhy Professor. University of Barcelona
... This is the great key, offered with surprisingly conviction by the sculptress Maite Defruc, in definitive possession of the complex technique of the “lost wax” that so much artisan precision demands the artist in possession of all her creative capacities...
Victorino Polo García
Professor of Spanish American Literature of the University of Murcia
... The strength of the sculpture of Maite Defruc is together with the styling of her shapes and her elaborated technique, one of her best qualities. It is a part of, at the same time, a cultural inheritance that comes form all the sculptural Mediterranean tradition, from the very beginning of the European civilization, and that Maite has depurated from a strictly contemporaneous sensibility...
Gabinete de Cultura. Canarias 7
Diario de Las Palmas
... From her hand we sail along the Bronze Mediterranean, a fascinating and peculiar world full of sensibility and delicacy, of energy and movement, in which her works embarks us. That is demonstrated particularly in her pieces represented by her lady gipsies, with that natural and spontaneous elegance behind which we can see the mastery of the technique; and her Spanish horses collection that transmit all the domain and prettiness of this pretty breed as well...
Victorino Polo García
Professor of Spanish American Literature of the University of Murcia
... Maite is, without any doubt, one of our most solid values not only for her artistic trajectory, serious and coherent, but the beauty and the interpretative and rhythmic of her sculptures.
But above all I want to emphasize of this artist of the movement of the air, the investigating anxiety that characterizes her- always boiling with ideas- her undertaking in escaping of what is already known and learnt, her search of new languages, that she gets not only in the creative act but in the meticulous craft process of the realization when melting by herself her own works...
Esteban Egea Fernández.
Councillor of Culture Education and Turism
... That is Maite Defruc; energy, movement and also sensibility. Pure sensibility, playing with the rough elements of the Mother Earth, air, water, earth, fire, leave always the impromptu, static of the creation, of her Creation...