Click any picture to enlarge

"Master Ariza creating
the sculpture"

"Un - Molding"

"Final touches to the wax"

"Melting the bronze"

"Putting the pieces together"

Master Ariza reviewing the "Patina"
of his final work.

Recently, Master Ariza has dedicated him self to produce Life size and monumental sculptures. Based on the need of the human being to depict himself, the “Egorealism” takes place. The history of art, shows us, that the artists have been always used to identify their work according to the artistic tendencies left to us, by those who without proposing it, left a style, or a school, which was discovered by the analysts, students and writers of art, who baptized them at their time, with a name that described the style.

The " Egorealism” is born, with a name that the Master Amilkar Ariza has given to his new artistic tendency, and that is the result of a conscious work that he has developed during many years.

Amilkar Ariza, in his constant search, creates a sculpture, with a subject that allows him to leave the common one, challenging the movements, the muscular vigor of the athlete, and giving the observer, a work that not only please aesthetically but also with the plasticity and beauty presented like a portrait, the sport activity that the observer practices, or admires and gets passionate, and identifies so much with it that feels that it belongs to him/her even without acquired it and integrates with the personality and penetrates the ego of the observer.

The Egorealism of Amilkar Ariza, is the art of the moment, the art of the time, of the communication, that transmits energies to the observer. It is the kind of work that does not require to be an art expert to feel it. The egorealistic sculpture of Ariza, besides to contribute to art, shows a strong empathy to it and causes the bronze and the person to integrate in a passion manner.

Definitively, the "Egorealism" of Amilkar Ariza, is a new artistic tendency in the sculpture, that adds new ingredients to the art, penetrates the feelings, and gives a more dynamic turn to the generally volumetric and statue-kind sculpture, perhaps by the rigidity of the handling of the bronze; in the work of Ariza, the heavy thing of the material becomes light, participates with the today life, and elevates the ego of those who observes it.