The selected work by Oscar Estruga for this exhibition is, without a doubt, the epitome of such contrast. The Spanish artist, born in 1933, developed most of his sculptural body of work between the 1960s and 80s; often borrowing from Greek and Cycladic mythology, he can be defined as an artist who reinvents Ancient worlds through his calligraphic imagination. The monumental ‘Máscara 3’, exhibited by Espinasse31, was created in 1988. Although this is decades apart from the inauguration of Zaha Hadid Residences in 2014, and the turn of the century is clearly palpable between both works, the weight of time is especially heightened through differences in material. The heavy, aged, and textured bronze of Estruga’s sculpture is antithetical to the airy, modern, and sleek interiors of the building. However, instead of clashing, this creates a fulfilling union of opposites: the building provides a relieving space for the sculpture, while the sculpture adds substance and character to the building. This shows how art and design naturally feed on each other, even when belonging to different ages.

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Finally, a more conceptual proposition is that of Antonella Mellini. Through a series of symbolic sculptures, the Italian contemporary artist translates her signature style—essential, uniform, clearly delineated—into the three-dimensional plane. Through her process, Mellini aims to eliminate the space-time connotation of physical artworks, making them immortal reflections of her views on society. Her medium of choice, enamel on styrofoam, gives them a light demeanour and materiality; this is juxtaposed with the sculptures’ marble bases, which anchor and ground her ideas, both physically and symbolically. Key to Mellini’s artistic practice are the use of colour psychology and a layering process; this fills her works with intricacies, hidden matter, and hidden messages. Propped up against the blank canvas offered by Zaha Hadid’s spotless interiors, Mellini’s latest sculptures are granted a centre stage position, serving as a visual stimulus and point of reflection for the viewer. 

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All in all, in this second part of Form Follows Meaning II, Espinasse31 presents a unique encounter between a giant of architectural design and three contemporary sculptors. Focusing on the ideas of contrast, equilibrium, and dialogue, the exhibition sheds light on the common essence shared by art and design, as carriers of beauty and vehicles to fulfilment. By placing art within design, the gallery displays the alluring vitality of sculpture, while underlining the unconditional quality of good design.