Text by Rosa Queralt
Sculpture as learning and construction
is the practice developed temporarily by Idoia Montón as she passed through the workshops of Angel Bados in Arteleku (1989 -1991) and the classes of Juan Luis Moraza at the Universidad del País Vasco (1989-90). Both experiences were essential for her transit through this discipline because of the analysis and knowledge that teachers provided, in particular with regard to the revised questioning of constructivism, minimalism and conceptual art in the redefinition of the sculptural object, as well as the intensity of the work being carried out, the avalanche of ideas and concepts that arouse in each session, and the stimulus promoted so that each student could find their own voice to express themselves freely, rigorously and self-critically.
In the eighties of the last century our country experienced an extraordinarily rich period in the world of sculpture. Perhaps at no other time had the payroll of sculptors been so large and the amount of young people dedicated to study in the schools of art been so large, a situation that would explain the contagion and the interest revealed in Idoia Montón to zone in on her praxis, although her initial involvement with art was pictorial and she had previously attended another workshop at Arteleku given by Bonifacio Alfonso in 1988.
This period is characterized by its investigative nature, by the exploration of different materials: chipboard, hardboard, wood veneer, foam, acrylic resin, plaster, spray, adhesive vinyl, photocopies, tacks etc, and by trying out different approaches. In this self – searching she carries out some proposals in which the relations of language and its referents, open and changing systems, tensions between mental and sensitive territories, thematic, conceptual and structural considerations and provisional hypothesis or the desire to produce meaning all converge.