CRITICAL TEXT ON THE WORK OF DAVID THE FOREST: The discussion that since the beginning of the last century has been the artistic world about the meaning of the classification of new trends, especially with the incorporation the production of many artists of new techniques and materials, dissolved the reductionist classical taxonomy between painting and sculpture seems now gives out of place when much contemporary art is nourished by the experience audiovisual media, if not the mere occurrence without travel. The apparent loss of certain values ??purely formal or strictly associated with traditional poetic CLASSIFICATION s academic has been replaced by a global creative discourse of much greater encouragement albeit more diffuse and imprecise limits that In any case, is precisely why most stimulating both the large scale of their proposals as to its undoubted failures. The aportacin that the creative scene of the second half of last century made in this regard including the current minimalist painting arte povera ascom matrices are undoubtedly one of the foundations of what today is the n da cleo formal speech expressive of artists and of course a perfectly assimilated stylistic references to the world of contemporary culture. As powerful as in the delicate work of David del Bosque, whose career foreshadows a career of surprising strength, appear very clearly these influences. This artist shows a remarkable ability to develop an integrative expressive line, without leaving the geometric stringency rational support, includes plastic values ??from different sources that give it poetic muscles. The geometric expression of DDB's work points to a history of European art that can be drawn from experiments in the world subdivisin elementary and abstract entities that proposes breaking down the figures of the avant-garde art or architecture in irreducible elements. Pinsese at the elementary abstract Malevich, Kandinsky and Mondrian and others of the group De Stijl and the Russian Constructivists, El Lissitzky, Rodchenko or Vesnin. These vanguards have inspired throughout the twentieth century's work much more modern artists who did not leave the way theorists who propose stas such as the case of Jorge Oteiza, who never ocultsu debt and admiration n by Malevich. Oteiza space proposals, particularly his research on the occupation of space, I feel are present in the work of DDB. What in certain works of the Basque sculptor raised empty as the space created inside the case of DDB is manifested by the light flowing from inside the room and makes seem to float with a sta l diffuse boundaries in the space created around. Est, I think, also present in the work of DDB the influence of the Quadri specchianti made by Michelangelo Pistoletto in the sixties of last century. The presence of the viewer's image reflected in the polished steel surface produces a voltage that amplifies the significance of the work and provides an interesting, no doubt, coming soon to the realism of the Italian author. But it is certainly in minimalism, a trend that largely owes its origin to the rationalism of the early avant-garde, where DDB is a wholly satisfactory way to develop formal iconographic concerns. The way the work is treated as the precision, the leadership that has the quality of finish and type of materials, especially stainless steel and wood adscripcin require this, but that, in addition, the nature of objects posed DDB iconographic value, represent a definite evolution within this current. I believe there is present in the creations of DDB resonances of certain works by Donald Judd or Robert Morris in what they object to seeking the interaction between the artist as an author and the viewer as interpreter. David Forest, in short, do not try in his work a mere racionalizacin lacking commitment. His work is more complex and touches the heroic to the extent proposed new notions of scale, space, and object limits. Build a set of relationships between art as object and between this one and man and established by a careful calligraphy and pleasing finish on the objects it produces and the always necessary rigor of geometry as Allied intelligence support sensitivity. Catn JosLuis Santarn. January 13 2008