His work of this period and later would continue to combine these opposites: he would return to Cubism, and through that experience of temporal fusion, of time as symbol and convention, he would make his own path, or as he would put it, he would approach a way of being his own path. Like Fernand Léger, he imagined a world of machines and processes in perpetual motion, and he returned to earthly paradises and depictions of tribal life, becoming African, Iberian, and Polynesian, half Neo-Plasticist, half Neolithic. This would become the key to his process, as he passed through a stylized Cubism, was seduced by Dada, returned to the dark, earthy palette of his first cityscapes, and approached the language of Constructivism. Torres found his own voice and approach in the 1920s, and within those his unified sense of time, a compressed time that integrated many different temporalities. He would continue to filter his experience of the 1920s avant-gardes, one after another, through this rustic quality, just as the pine table and clay pot were figures of a metonymy through which the modern city located its opposite. With these objects Torres cast aside the academic call for realistic representation, moving closer to the ancient forms-the stele, the bas- relief-that would make up his own approach. Along with these paintings, though, Torres began to produce his objetos plásticos: highly sculptural assemblages of rustic painted wood, surprising for their radically schematic quality. Indeed, Torres’s paintings from the period of his return to Europe are strikingly internal: but for occasional landscapes of these small towns, they are still lifes of unremarkable objects, their Cubist style now fairly stereotypical and familiar.
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