Óscar Aldonza Torres, Organic Hybrid Sculpture of Human Insect Figure, 2026, Ceramic

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Organic hybrid ceramic sculpture depicting a human-insect figure, combining expressive modeling, mixed materials, and a distorted bodily presence. This work … Read more Organic hybrid ceramic sculpture depicting a human-insect figure, combining expressive modeling, mixed materials, and a distorted bodily presence. This work belongs to the series Bichos, a group of sculptural figures developed by Óscar Aldonza Torres in 2026 for Hybrid Art Fair Madrid. In this series, the human body is approached not as a stable subject but as a mutable, organic condition—bound to matter, deformation, and transformation. The figure appears caught between human and insect, its curved posture and elongated form suggesting both movement and constraint. The sculpture is constructed through a combination of glazed ceramic, oil polychromy, epoxy varnish, and forged aluminum legs. This mixture of materials produces a layered surface in which gloss and opacity coexist. The ceramic body retains visible traces of direct modeling, while the applied color and varnish introduce additional depth and density. The metal legs extend the figure into space, creating a subtle tension between fragility and structural support. Formally, the piece is characterized by a sinuous, bent body that departs from classical proportion. The head, slightly tilted and marked by minimal yet expressive features, incorporates thin linear elements that evoke antennae. These details reinforce the hybrid condition of the figure, situating it within a space between organism and character. The work resonates distantly with historical imaginaries such as Bosch’s Garden of Earthly Delights, while remaining grounded in a contemporary sculptural language. Within Aldonza’s practice, this type of figurative sculpture emerges from a process of formal experimentation and material negotiation. The body is not predefined but discovered through modeling, resulting in an expressive and unstable morphology. The sculpture suggests a state of degradation or transformation, where identity dissolves into organic matter. As a contemporary sculptural object, the work functions effectively as an individual piece, suitable for pedestal or cabinet display. At the same time, it has been conceived to operate in dialogue with other figures from the Bichos series. Installed together, these sculptures form dynamic constellations in which each figure contributes to a broader spatial narrative. Their interaction generates unexpected choreographies, where proximity, orientation, and scale produce evolving relationships between the works. This hybrid ceramic sculpture reflects a process-based approach in which material, gesture, and form converge. The result is an expressive contemporary sculpture that negotiates between human condition, organic transformation, and sculptural experimentation. This piece has an attribution mark,
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