(San Sebastián, 1924 - 2002)
aquatint and etching on paper
118.7 x 157.9 cm
Inv. no. P02249
Chillida began to experiment with printmaking in the late 1950s. In his early works, he completely covered the paper with
: “With a line the world is joined together, with a line the world is divided; drawing is beautiful and is terrible.” In the late 1960s he began to add aquatints to create some dense areas that remind us of his sculptures.
For Chillida both engraving and sculpture were a means of studying light, contrasts between dark and light, the void and the full. In fact, the poetics of contraries was a constant throughout his practice.
Georges Braque (1882-1963) recommended Chillida to read Zen in the Art of Archery
, a short book written by Eugen Herriguel which had left a deep mark on him. This treatise on Zen spiritualism advocates a quest for a state of balance between opposite forces in order to reach Oneness.
In the case of Aundi II
, and in general in his way of approaching printmaking, there are no violent contrasts, but rather an osmosis between matrix and paper, a harmony very much in tune with Eastern philosophy.