During the 1960s, César gained renown for his characteristic welded creature sculptures and his innovative practice of compressing old vehicles and assorted junk materials into tightly packed forms. Intrigued by the transformative nature of compression, he saw it as a way to create symbolic moments of the mechanical age. Incorporating a hydraulic press into his artistic process, César precisely selected and directed the compression of materials, often using full or partial pieces from cars.
At first observed as a deliberate rejection of traditional metal sculpture aesthetics, César’s ‘Compressions’ soon evolved into thought-provoking representations.
These creations went beyond just using machines. They captured how different materials, physics, authority and context interplay at a certain moment in time.
In contrast to his metal work, Cesar switches to the use of plastic. In 1965, he began meeting plastic molds of human imprints and creating large, artificial statues of various body parts.
In the late 1960s, César explored his creativity through semi-organized sculptural spills.
These spills were made using liquid polyurethane foam, a novelty at the time. Each spill was tinted with a color chosen by the artist, allowed to expand, and then left to set.
This process resulted in soft forms much larger than their original liquid volume. César found this material fascinating because it didn't conform to a mold; instead, it spread and expanded freely.
Excited by his discovery, César organized public events from 1967 to 1970 where people could watch the material change from liquid to solid.
