About the Artist
The world through a child’s eyes is the main theme in the pieces of the artist Ana Mas, who creates plastic sculptures using 3D technology. These works are a synthesis of symbolism, realism, salon art and design. They are as close to real-life size as possible, and their subjects are often simple, quotidian and rural. By combining contemporary technology with classical art, her works glorify a love for life and the beauty of the human body, and for a barefoot childhood where everyone can identify some part of themselves. To live in the here and now, relishing each moment as children do. Communion with nature is another theme that spans Ana Mas’s compositions: “When you look at the sky for even just 10 minutes a day, all your worries magically disappear because you see something resolutely eternal; you touch upon your own essence. Something similar happens when you walk around a garden or contemplate water.
Delicate pubescent figures, extended and altered proportions, smooth lines. Exaggerated turns and curves. The recurrent use of contrapposto as a tribute to the classics and the deliberate concentration of tranquility. A state of dynamic equilibrium. The contemplation and complete disengagement in each object, extremely generalized depictions – smooth lines, expressive gestures, subtle, salon-like molding of the already naturalistically nude models – suggest a chaste incorporeality. The faces follow suit: just as generalized, like the idea of something sublime, a collective image that requires no additional detail. All this comes to life in the works of the zestful artist Ana Mas.
Her sources of inspiration can be found in the reevaluation of our millennial heritage, especially the Greco-Roman classics, Symbolism and Postmodernism. In this regard, her sculptures are close to the most recent artistic visions, though upon closer analysis we find that the basis for Ana Mas’s most recent explorations hearkens back to the ancient sculptors of the Golden Age, whose notion of beauty was the materialization of the divine. It is the collective nature of the images, the lack of individual features and generalization of the people depicted that give her sculptures a sense of familiarity and inform her individual style. The elements are all generalized – smooth lines, expressive gestures. Even the salon-like molding of the already naturalistically nude models has a chaste, incorporeal aspect to it. The faces follow suit: just as generalized, like the idea of something sublime, a collective image that requires no additional detail.
By the start of the 21st century, every material, technique, genre and theme applicable to sculpture had been tried and legitimized – from votive Neolithic statuettes, Greek Kouroi and marble statues to hypernaturalism, the geometric constructions of the minimalists and the “inflatable” sculptures of the Postmodernists. However, contemporary technology has upended our understanding of many art forms, sculpture among them, and offers artists completely new methods and materials for them to manifest their ideas. It is precisely through this technology that Ana Mas realizes her own ideas, applying the innovative methods of 3D printing, milling and sustainable production. Each sculpture is prepared on the basis of a digital 3D model which is painstakingly made by the artist in several stages and takes the form of a highly accurate construction with a complex supporting frame, electronics and light fixtures. At this stage, the final model is broken into fragments for 3D printing and looks more like a set of blueprints for a high-tech gadget than an elegant sculpture. Each segment of the sculpture is printed on a highly accurate 3D printer over the course of several hours or even days. In the end, printing the entire sculpture on a single printer can take over 500 hours. At the final stage, all the fragments are assembled, the frame and electronic components are installed and the resulting sculpture is covered in various polymer materials to form a durable protective layer with the right amount of finishing and gloss.
As a result, each of Ana Mas’s pieces is a unique, high-tech work of art that is unlike anything else in the world. Moreover, each of them not only possesses artistic value and expression, but a practical application uncharacteristic of classical sculpture.
It is this practicality that permits each object to live not only as a free-standing work of traditional art, but as a contemporary work of interior design.
Ana has this to say: “When we value our sensations, we appreciate every minute of life, every breath. By creating a celebration of life every day, we can become the happiest people on earth. As adults, we often lie to ourselves when we invent what is right and what is wrong… The human body is the result of hundreds of years of evolution, and it is perfect and exemplary. When you look in the mirror, it is impossible not to feel proud of that generous gift. How could anyone not love it or be in awe of it? Of all of us?
“We are all people and we are all attractive. There are no ugly people among us, only our own uniqueness. Ugliness exists solely in our imagination… The world is absolutely wonderful and everything in it is extraordinary, otherwise it wouldn’t have the right to exist. The most valuable thing we have is life itself.
“Art must be positive. Does anyone really need anything that isn’t positive? The things that surround us either provide us with enjoyment or lose all meaning. Existence is too marvelous and short for us to spend it on self-deprecation. Our environment influences us, color influences us and its absence influences us. It’s no accident that we chose white. Titanium white is radiant. White gives everything and takes nothing – it is not the color of skin or of the soul, but rather the color of our essence when we bring joy to the world. It is a celebration of life. We always want to surround ourselves with beauty. We unconsciously strive towards beauty because it gives our system euphoria. Given the choice between a glass of joy and a glass of grief, I don’t know anyone who would choose the latter knowing that the former was available.”