Sergi Aguilar’s multifaceted work has played an important role in the transformation of sculpture in Spain during the final third of the twentieth century, connecting it with international movements in the renewal and research of the medium.

Born into a family of goldsmiths, his work is known for its refinement and harmony, with perfectionist finishes and geometric forms that have often led him to be associated with or –and in fact his work has been described as organic constructivist – while the underlying meaning also brings him close to .

Horizontal comes from the early period (1973-1980) in the artist’s production, focused on experimentation into the creative possibilities of materials, and predicated on the observation and analysis of the forms of nature. Here one can note the use of black marble from Belgium, a material that conveys greater volumetric solidity and connects with the origin and tradition of classical sculptural: it is a challenge to combine a traditional material and a classical way of working –chiselling − with experimental ideas.

The artist produces small format works, comprising closed and neatly-defined volumes with a predominance of horizontality and axiality, and often marked by a sense of imbalance. One ought to point out in these works the influence of the organic abstraction of Constantin Brancusi (1876-1957) and the monochrome works of Tony Smith (1912-1980).

In his practice there is a two-way path between geometry and nature; on one hand, a geometrization of nature and, on the other, a naturalization of geometry. He carried out these operations by means of the harmonious inclusion of accidents and irregularities in simple geometric volumes, giving the pieces a heightened lyrical quality and expressiveness that removes them from cold abstraction.