In this article, the subject of the sculptor Javier Marin, whose tradition came from thousands of years ago and is in the context of the figure, content form and essence concepts, which is the basic theme of the artistic creations of mankind, is scrutinized. The concept of figure is used to express the form with form features of beings in plastic arts and especially in painting and sculpture applications. It is a widespread view that the disparity of identification with a general expression varies with the expression of the human body and its emotions. The history of Western art and sculpture tells the relationship between man and the space surrounding him and this relationship presents a philosophical story that expresses the consciousness of creation. The sculptor is similar to a maestro in every period of history, performing a visual work with a limitation process, in a small section of nature, in the identity of the materials that occupy the space in concrete, to present the viewer's liking and to perceive a subjective memory. The artist, who bring together the dialect of subject, content, form and essence perfectly,is the life itself. Therefore, it is his figure in terms of the position or metaphor of the artist who is perceived first by the real existence of his art work. With giant-scale busts, Javier Marin moved the perception of space out of conventional approaches. The reverse figures, which disregard the natural balance of man, are almost redefining the space with the nudes, whose body is divided into two parts as upper and lower. He is a time-defying artist with stacked bodies and more, trapped in geometric forms.In this article is intended that Javier Marin's approach to figure is taken as a reference to the concepts of content, form and essence, with an emotion-based content inspired by the specially chosen rational form in concern that is not based on coincidences and an emotion-based content inspired by their ingenious fiction.
Keywords: Javier Marin, sculpture, aesthetics, figure