Cocomir knows that it is only through the perfection of form that a work of art is served by a personalized and difficult craft, becoming valid as an emotionally moving document and artistic expression.
Born in Talarn (Spain) in 1931, his restless personality has led Cocomir to live in Brazil, Japan, Timor, Italy, London and the Costa Brava, in the North-East of Spain, where he has finally established his residence.
Being educated as a an architect, Cocomir decides to leave a bright and promising career, which began in the study of Oscar Niemayer to engage in a F.A.O. development project in Mauritania, Mali, Senegal and Chad.
After two years of meditation in the desert he decides to abandon architecture to devote himself completely to sculpture. He moves to London attracted by Henry Moore, Barbara Hepworth and the Minimalists.
In 1969 he builds a studio in the Costa Brava and surrounds himself with master craftsmen who teach him their skills, a constant that will be repeated from then on in his career. This passion has also led him to experiment with Murano glass, silver in Vicenza, Bassano ceramics, alabaster in Volterra, and Carrara marble. Back on the Costa Brava, Cocomir miniaturises his sculptures to transform them into gold and silver sculptured jewellery to wear. He turns his reliefs into mirrors; his formal studies into canes, pottery and artist''s furniture. He simplifies his language and makes it more comprehensible.
His tireless work as a creator, which continues to date, has led him to produce also models for various companies: Bayanihan in jewellery, canes for Loewe, ceramics, resins, etc.
“This great artist who is Cocomir knows that it is only through the perfection of form that a work of art is served by a personalized and difficult craft, becoming valid as an emotionally moving document and artistic expression. An art that is not eminent in such is just as much a document as the best of those possible, but it is cold, without inciting us to try to unravel anything more than is narrated by its own impotence. An art that is polished, exact, subject to norm and number, but with this not being too obvious, instead enfolding itself in softness and organic curves until the air quivers curled up in a hollow or harmonizes in it''s sudden cracks and fissures with our own possible anxieties, that art is, seen in abstract, as much a document, no more no less, as the one that lacks this ultimate possibility of indescribable communication, but at the same time it will require that we collaborate with the author in a manner much more profound than simply assembling and disassembling pieces and in this way it will be much more truthful in its ultimate implications. This ultimate truthfulness will be provided by the spectators, but we will be able to do it only when the author, as it happens in this paradigmatic case with Cocomir, has shaped the pieces in such a way that with their own perfection and authenticity they are capable of touching us, not only on the superficial sensitivity of the skin, but also in the deepest furrows of our intelligence and love."
By Carlos Arean.
Funerary sculpture is one of the first manifestations of sculpture.
Animism is permanently linked to man''s evolution, and the worship of the dead is the most powerful and ancient reflection of the desire to transcend.
From time immemorial the great sculptors have made funerary sculpture, frequently more relevant than their reason for being.
It could not be any different for Cocomir to follow this tradition both through his own will and the certainty that death is the reason for life, now and forever.
Therefore the raison d''etre for Cocomir''s funeral urns.