Photos: Carlos A. Schwartz – Efraín Pintos

Sin Título (Untitled)

“Eduardo Gregorio, who according to his own words takes as a model a toy from his childhood, manages to create a piece full of extraordinary power. An assembly of six geometric bodies, crossed, with a three-point base support, which produces this unusual and grandiose presence. Made in concrete and metal chips.”

Westerdahl, E. (1973). La 1ª Exposición Internacional de Escultura en la calle, en Santa Cruz de Tenerife. Quaderns d’arquitectura i urbanisme, ISSN 1133-8857, Nº. 99. Número dedicado a los parques naturales, 47-50.

“The way in which the clean and gigantic marquetry forged in concrete by Gran Canarian Eduardo Gregorio (Las Palmas, 1903, died a few years after the Santa Cruz exhibition) occupies the space is a radical departure from his usual expressionist diction, strengthened by his long stay in Venezuela, and rethinks a whole new meaning of plastic art.”

Hernández Perera, J. (1996). Dos décadas de Esculturas en la Calle. En A. Carnero, D. Duque, & C. Schwartz, Iª Exposición Internacional de Escultura en La Calle (págs. 25-54). Santa Cruz de Tenerife: Cabildo Insular de Tenerife. Área de Cultura. ISBN: 84-87340-63-6

“Eduardo Gregorio, who had returned from Venezuela years before, brought a work for the occasion, Macla (1973), which responded to the volumetric simplicity he had learned in America, reduced to a purely minimal model and distant from the code he maintained as a teacher and director of the Luján Pérez School in Las Palmas, a true beacon of indigenist art with popular roots.”

Pérez Reyes, C. (1996). Reflexión sobre lo visto y lo vivido. En A. Carnero, D. Duque, & C. Schwartz, Iª Exposición Internacional de Escultura en La Calle (págs. 65-76). Santa Cruz de Tenerife: Cabildo Insular de Tenerife. Área de Cultura. ISBN: 84-87340-63-6

“Eduardo Gregorio’s Macla, from 1973 – one of the most beautiful pieces in the Santa Cruz exhibition – is not an altar, but an air breaker. The first impression it leaves on the viewer is, in fact, the memory of a breakwater. An inland breakwater? Three masses, three forces, intertwine and penetrate each other to form an inextricable knot of tensions, which, going to different sides, meet and unite there. The result is a dam against the evening wind.

The beauty and limpidity of this admirable piece of work (the two traits used to go hand in hand in Eduardo Gregorio’s sculptural work and ceramics) speak to us of forces that are directed towards the four cardinal points and that at some point met. At what point? At the origin, at birth. There they came together to resist the devastating wind, the devastation of time on the human gaze.”

Sánchez Robayna, A. (1996). El espacio de la escultura. En A. Carnero, D. Duque, & C. Schwartz, Iª Exposición Internacional de Escultura en La Calle (págs. 77-86). Santa Cruz de Tenerife: Cabildo Insular de Tenerife. Área de Cultura. ISBN: 84-87340-63-6