With these dolmens, Mateos began a fully constructivist sculpture. In configuring the form, the volumes begin to be ordered according to a constructive logic of vertical-horizontal arrangement.
Fascinated by the mysticism of the megalithic dolmens, he recreates the first human architectures, with which he wants to suggest great monuments, great dolmens of today. The sculptor pays homage to those first anonymous creators, and in doing so celebrates the human capacity to build, to transmit a culture and to leave a record of our passage through life. His sculpture thus becomes transcendent in its intention. We are before a mature creator who has found his path, his sculpture, to which concrete confers the necessary strength and permanence.
Throughout this series, and gradually, the slats of the formwork are arranged vertically on all the planes of its surface. Mateos realised that this vertical arrangement gave the work a new monumental character. This was a decisive discovery, and together with the architectural character provided by the material, these were the two main characteristics that would always form part of the DNA of his sculpture.
Within this series, the work "Dolmen diez, La Edad del Hormigón" (Dolmen ten, The Age of Concrete), one of Ángel Mateos's best-loved works, should be highlighted. With it he won a prize in 1974 in the "Concurso Internacional de Escultura Autopistas del Mediterráneo" (International Sculpture Competition Mediterranean Motorways). It was the first great prize of his abstract phase, but above all, it was the one that allowed him to create his first large-scale sculpture. And there it is, with its twelve metres next to the A8 motorway, at the height of San Sadurní de Noya.
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