Cetina (Zaragoza), 1959
The cult of the curve developed by Jacinto Moros in his work has a prismatic texture through which interpretations and rich metaphors expand. A kaleidoscope that throws formal readings like the abstraction of its embossing or the game of levels that characterizes its wooden sculptures. From these two creative nuclei is born a poetic movement around. The dialogue he establishes between science and nature is another of the subtle constants of his work. The science, the process; nature, the tree that mutates is wood and in turn, it becomes the paper that will also act as raw material.
His sculptures describe ringlets in which the inspiration of Jacinto impels them as a reaction engine and the materials makeup stelae in which we identify human measurements or the behaviour of energy by interacting both with the surfaces and with the forces that govern the universe.