Published by Galería Toni Tàpies, Barcelona. Printed by J. Barbarà, Barcelona.
As one of the most prolific printmakers of his generation, Antoni Tàpies was constantly pushing the boundaries of the medium. His prints carry the same physicality as his paintings and sculptures, and clearly reflect his all-embracing thirst for material experimentation and assemblage. Completed in 1988, Sinuos is a monumental example of this experimentation, as well as a poignant representation of Tápies’ inner complexities and personal reflections. At the time that this etching was completed, Tápies was putting much of his focus towards the study of meditative space and Zen philosophy. Contrary to earlier works that depicted the destruction of the Francoist regime, or his works responding to the rise of Pop Art and Conceptualism, his works from the seventies and eighties represent a much more introspective side of Tápies. Sinuos clearly illustrates this shift in focus, and a stands as a perfect exemplification of his major achievements in printmaking during this decade.
Just like his paintings and sculptures, the experience in Tàpies’ prints is both visual and corporeal. The experimental approach to printmaking that is evident in 'Sinuos' reflects the artist’s constant pursuit of discovery, both in vision and in touch. In a interview with art historian and curator Manuel Borja-Villel, published in 1992 in 'The Print Collector’s Newsletter,' Tàpies states: “I have had the chance to rely on printers who didn’t fear the problems I presented. . . my interest in the expressive value of these novel techniques has to do with their implications for philosophy and for conveying the experiences of life.”
The approach to etching that is seen in Sinuos is a testament to this curiosity that leads Tàpies’ work through different themes and contexts. The textural markings paired with the calligraphic curves of the black ink sink into the black paper to create a floating ambiguous space that is fully indicative of the works meaning.
'Sinuos' translates directly to ‘sinuous,’ which is in reference to the snaking, river-like shape that occupies the foreground. Experiencing many twists and turns is a constant part of life, and one that Tàpies felt we should find comfort in. His considerable life experience leading up to this etching only further fortifies his message, that embracing the unexpected will led to solace. It is suggested in the print that this ‘solace’ is represented by the cross symbol in the lower center, applied with the use of collagraphy, to which the sinuous path leads. Elevated through the superimposed medium, it does not represent any specific religion or sect, but rather exists in its most authentic form: as a symbol of universal man, recognized across many different religions. It is a recurring symbol in Tàpies’ work, and one that indicates his understanding and sympathy for Humanism.
