Hèctor Bofill - website of the artist CRESPI I ALEMANY

AGE OF THE MUSES
(translated by google translator)

William Crespi proposes an avant-garde gesture: referring to his sculptures and his paintings to music as an object. Moves, then certainly a way as to create a bold artistic language based on the reference to another discipline. As a first impression, his work moved me to the contemporary musical compositions in the sense of thinking that give the instrument the central space, a continent that content becomes an existence which becomes essence. This is explored, for example, John Cage with the idea to remain silent at the piano (four minutes thirty three seconds). And perhaps not exaggerating if I feel more powerful and more successful the investigations of William Crespi from the portrait of a clarinet from his sculptures on a bass that some exercises of pyrotechnic avant-garde music.
The artist creates a perfect balance between the roundness of the forms that evokes lightness and almost dreamlike, undoubtedly driven by the property line and the domain of the stain, the wise combination of a bet with sites that slip figurative abstraction. Crespi draws us into an imaginary in which avatars can lead to forms of culture, perhaps immersed in recognizing this trend as an advanced society can only thrive if placed in the center of the aesthetic discourse of its claims.
The artistic sensibility becomes subject and object, the highest and most dense layer of human desires, the emotional infrastructure of a community and their codes. So in an era in which all sorts of uncertainties hover over social activity in which economics and politics fall into the gap and are deprived of their ability to bring together collective forms of organization tive, it may be time to make way for these epiphanies that William Crespi baste as a prelude to the age of the muses that the audience enjoy, reflect, and closes the wounds of violence that beset.
In each of the presented work, whether in the ampoule lositat the drawing is in the styling of wrought iron sculpture of comfort functions converge aesthetic of revelation and transformation that one would find in any artistic approach. No doubt we are facing an ambitious bet which gives us new languages ​​for new times.
Hector Bofill
Altafulla, October 2009