Alejandro Pantin Gil

Alejandro Pantín's work (1990) articulates a formal and conceptual investigation into the book as a sculptural object and container of memory. Through a topographic technique of manual cutting, derived from his architectural training, the artist shapes organic volumes from discarded books, generating structures that evoke anatomical forms and classical proportions. His process is based on precision, symmetry, and constructive logic, exploring the relationship between materiality, knowledge, and beauty. In this reinterpretation of the book, Pantín transforms obsolete information into a new three-dimensional body, where text and matter interact in a visual and symbolic dialogue. The work thus transcends the utilitarian function of the medium to reflect on the transience of information in the digital age and to reclaim the permanence of the tangible. His practice combines the Platonic ideal of beauty with the formal rationality of architecture, achieving a synthesis between technical precision and aesthetic sensibility.

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9.33

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0.99 %

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Faces

In the Faces series, Pantín shifts his topographical investigation towards facial representation, expanding his interest in the human form and its expressive potential. Using disused books, the artist sculpts profiles and countenances that emerge from the paper as latent presences, constructed through successive cuts that generate depth, relief, and geometric tension. Here, the technique is directed towards capturing identity and gaze, using the materiality of the book as a symbolic stratum containing time, memory, and narrative. The series proposes a reading of the face as a palimpsest: a space where the biographical, the formal, and the cultural overlap. Thus, Pantín transforms objects destined for oblivion into contemporary portraits that question how we perceive, construct, and preserve the human image.

Muses

The Muses series delves into the exploration of the body as an archetype of beauty and as a cultural construct. Pantín uses discarded books to model volumes that allude to Greco-Roman female anatomies, obtained through topographical cuts that build form layer by layer. This approach combines architectural precision with sculptural sensitivity, creating pieces where three-dimensionality emerges from the printed support itself. In Muses, the book becomes a body that holds memory: its content, its colors, and its typographical arrangement are integrated into the final surface, acting as a conceptual skin. The series thus proposes a reflection on how the obsolete can become canon, and how classical beauty can be reactivated through materials linked to contemporary ephemerality.