January 2024 marked the 100th anniversary of the Basque sculptor Eduardo Chillida's birth. Numerous museums and institutions celebrate this anniversary with exhibitions and events dedicated to his work. Born in San Sebastián in 1924, the artist gained international recognition at an early stage with spacious sculptures made of iron, a traditional material in his native Basque country. However, his small-format clay sculptures, most of which are privately-owned and seldom make it on the German auction market, are also an integral part of an oeuvre that includes more than 500 works.

When Eduardo Chillida first came into contact with clay at the beginning of his career, he was not so fond of the smooth and soft material at all. It was not until the 1970s that he came across the harder and more fireproof fireclay in the studio of Fondation Maeght in the south of France. An experience that entirely changed his mind about the previously disliked material. He soon created his first clay sculptures in collaboration with the German ceramist Hans Spinner, creations that can be divided into two main groups: the "Óxidos" and the "Lurras", of which the present work is a prime example.

Despite their small format, the earthy, monochrome and extremely compact “Lurras” exude an immense energy and arcane aura. They bear the name of the Basque word for earth, a word that does justice to their original character like no other. In this work series, the characteristic gashes and squares cut and pressed into the block usually extend across all five visible sides of the sculpture, so that a main perspective to view the pieces is difficult to identify. As a result, the block, which initially appears so static, invites the observer to move around. The clay sculptures will only reveal their secret spaces, different levels and balance of power when they are explored from different angles.

As is the case so often, the artist himself finds the most apt words to describe the effect of his “Lurras”. In an interview with Mario Terés, Eduardo Chillida explained: “I could use the clay to produce much bigger pieces, bigger and lighter, but that's not what matters to me. I don't want my creations to just look big, I also want them to retain their power, this power that emanates something beyond reach.” [AR]