Classical sculpture by Pablo Treviño

To me there is no greater and noble challenge, for myself and to that small part of the world that still maintains common sense, than to revive the fire of antiquity in the Arts. This resurgence is only possible if we look back to the masters of old and to their teachings. If we sublimate our ideas and understanding, through the golden wisdom of the ancients, Art will undoubtedly be elevated to the position of perpetuity once more.


Sculptor, architect, creator. I am Pablo Treviño, currently living in Mexico. The reason why my sculpture trajectory started is because I had a revelation about the meaning of beauty and truth in a time and place where there seemed to be only room for the dullness of modernity. For some years I have been pursuing these meanings being made manifest in Art, especially sculpture.

I then went on to Florence, where I studied for three years under the direction of a master sculptor the various techniques involved in terracotta and traditional draftsmanship. It is here that I learned of the importance of obstinacy in the face of complacency or disparagement.

I embarked on this journey to explore and delight in the treasures of the old world I then realized that not only should we embrace a higher aesthetic and meaning in the fine arts, but in other disciplines as well, specially the less obvious quotidian ways of living. Stepping back from the centrifuge of automation and mass production can allow us to reclaim our roots and not only emulate our ancestors but improve upon their works.

I therefore firmly believe that art and industry should be made subject to the same expectation If we recognize the intrinsic value of the works crafted by artisans, then looking into the socioeconomic conditions that make such achievements thrive could give us an idea on how to revive the heart that can beat at the same rhythm of our highest aspirations.

The Sculptor's Studio

In order to sculpt it is necessary to be in a state of constant creative agitation.

An inner turbulence has to find our hands already dutifully working the clay wood or stone. Often the act of sculpting is born not the moment we begin manipulating the material in front of us, but whenever our actions meet the demands of these swirling ideas and emotions. For all this to be effective, having a mastery of technique is essential. The more refined our methods, the more we can distill our thoughts into the shapes that best characterize them.

It is always best to capture any concept first by drawing, even if the sketch only consists of a few scrambled lines that only make sense to you. Then if possible, the refinement of the drawing will allow an even better portrayal of the future work. Carefully maintaining anatomical proportions will play a favorable role as one has to think of the sculpture as an architect might plan a building: foundations, balance and weight are limits to sculpture that if considered wisely, will always work in favor of your design.

After these things have been carefully considered, the only thing left is to begin modeling, to pause regularly and step back some distance, in order to judge from afar the ongoing progress. A sculpture is only finished when it tells you it is.


Get in touch with me to learn more about the work, commission a piece for yourself, or inquire about a point of interest.


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