While most of Subirachs’ works can be found in public thoroughfares in Catalonia, there are also some works around the world. Despite the majority were made-to-order works of art, all are representative of a Subirachs aesthetic or technique. We propose a list of itineraries for visitors to choose according to the route that most suits them or according to the works that most interest them.
SUBIRACHS. WORK IN PUBLIC SPACES
'Art without a spectator does not have any reason to exist', argues Subirachs. 'Art has to be for everyone and, therefore, the best place for it is a public space. The artist should try to communicate with as many people as possible, without it having a detrimental effect on the quality of his work.'
Work situated in public spaces is often commissioned and in Subirachs' production over more than half a century commissioned work plays a particularly significant role, because it synthesizes the development of his work.
As we follow the path through these works, we can not only see the evolution of the artist's style but also appreciate the fact that the type of work, the materials and the techniques chosen in each case have been carefully considered; the artist takes the same trouble over an apparently simple piece as over a monumental piece of sculpture. For Subirachs there are no major or minor art forms; what he considers really important is that the work should be well conceived, well executed, and a successful expression of the artist's intentions.
From a handrail to a façade, from a stone plaque to a door, from a ceiling to a frieze, from a bust to a commemorative monument, every piece is painstakingly produced, both in its material and conceptual aspects.
Although commissions have been a major driving force throughout the history of art, it is sometimes though that, when the artist accepts a commission, whether it is institutional or private, his creativity will be limited by the conditions that the client may impose. In fact, the work of art is never absolutely free, since man works at a particular time in history and, often, in a particular location. The artist has to adapt his work to a location, he has to choose the material according to a budget considering its possible deterioration, he has to think of the recipient and is even asked for a specific theme. His freedom lies in choosing the best possible solution, the one closest to himself. Apart from the subject, another conditioning factor is necessarily the location of the work. 'It is essential to get the location right because then the work becomes a point of reference and generates an environment. A well located sculpture gives things proportion and magnifies the space. For example, it makes a square a focal point in a city.'
