Blue angle. From the series: Spectators' Nest
2017-2018 / Neons. 100 x 100 x 100 cm
2017-2018 / Neons. 100 x 100 x 100 cm
Spectators' Nest. Series
When the subject, the motive and the aesthetic reflection coincide in a specific place and time, a work of art occurs. However, in contemporary societies the relationship between these elements has dissolved, given the development of global communication mechanisms, and also due to the deployment of new forms of production, consumption and circulation of art, which perpetuate an uncertain record of the social, which in turn distorts the already established structures. Spectators' Nest. Series arises from the need to underline this condition of contemporary art, where the contexts and the ways of establishing an aesthetic relationship are conditioned by a fluctuating event.
When the subject, the motive and the aesthetic reflection coincide in a specific place and time, a work of art occurs. However, in contemporary societies the relationship between these elements has dissolved, given the development of global communication mechanisms, and also due to the deployment of new forms of production, consumption and circulation of art, which perpetuate an uncertain record of the social, which in turn distorts the already established structures. Spectators' Nest. Series arises from the need to underline this condition of contemporary art, where the contexts and the ways of establishing an aesthetic relationship are conditioned by a fluctuating event.
Birds without nests sleep in the wind
Obras como "Blue angle", "Birds without a nest sleep in the wind" and "El yawn, one and three cubes", indicate the limit of the gallery space as a simile of the limit of the field of art in which a distribution of sensibilities takes place, a system of hierarchies that the subjects are able to argue in their struggle for legitimacy.
Through these works I intend to show the cubic space of the gallery as a container of a series of variations, which refer to this struggle for power. I start from the cube as a scheme to represent art as an event made up of three elements:
- The social subject
- The contextual weight of the space that contains it
- The void as a possibility of a new situation...
Flesh, Lead and Emptiness. Molten lead object and piece of meat. Cuba, 2002
Nido de Espectators arises from the need to look beyond what is organized as the field of art, to observe the individual as a social component that erodes the historical condition of current art.
Although no particular story is capable of organizing the diversity of factors of different origins, through which contemporary art prevails, in contemporary societies, and to a certain extent based on individual contexts, the plots that go from the ephemeral event to the structural events that take place in the specific field of art are consciously or unconsciously supported.
In order to perceive this essence, I start from the digital representation of a variable graphic, based on the cube as a modular structure, which allows to organize in different ways, the possible combinations between three alternatives that I consider fundamental: the intangible, the transitory and the quantifiable. These three components seem imminent so that the aesthetic fact never stops being produced, is not reducible to pure merchandise, and does not become a simple trade.
While I was on the Isle of Youth in Cuba during 2002, I found an object that caught my attention. It was a lead plate with alloys of some stainless metal that had been used as a press matrix for a local newspaper. I decided to melt it and reuse it in a solid lead sculpture from which I removed two parts also in the form of cubes of different proportions, located at adjacent angles. This allowed me to try to complete one of the regions, leaving the other empty. I did this by adding a piece of meat; and trying out variations of this same structure…
Through these works I intend to show the cubic space of the gallery as a container of a series of variations, which refer to this struggle for power. I start from the cube as a scheme to represent art as an event made up of three elements:
- The social subject
- The contextual weight of the space that contains it
- The void as a possibility of a new situation...
Flesh, Lead and Emptiness. Molten lead object and piece of meat. Cuba, 2002
Nido de Espectators arises from the need to look beyond what is organized as the field of art, to observe the individual as a social component that erodes the historical condition of current art.
Although no particular story is capable of organizing the diversity of factors of different origins, through which contemporary art prevails, in contemporary societies, and to a certain extent based on individual contexts, the plots that go from the ephemeral event to the structural events that take place in the specific field of art are consciously or unconsciously supported.
In order to perceive this essence, I start from the digital representation of a variable graphic, based on the cube as a modular structure, which allows to organize in different ways, the possible combinations between three alternatives that I consider fundamental: the intangible, the transitory and the quantifiable. These three components seem imminent so that the aesthetic fact never stops being produced, is not reducible to pure merchandise, and does not become a simple trade.
While I was on the Isle of Youth in Cuba during 2002, I found an object that caught my attention. It was a lead plate with alloys of some stainless metal that had been used as a press matrix for a local newspaper. I decided to melt it and reuse it in a solid lead sculpture from which I removed two parts also in the form of cubes of different proportions, located at adjacent angles. This allowed me to try to complete one of the regions, leaving the other empty. I did this by adding a piece of meat; and trying out variations of this same structure…
Flesh, Lead and Emptiness. Photographic series
At that time I was trying to bring the relationship between the body and its context to abstraction. Previously I had been for some time fusing casts of my own body and that of my partner, to articulate works that addressed the concept of communication.
These objects, which on the one hand implied the gesture of objectifying the body, on the other hand were also a way of projecting the influence of the socio-cultural context in the space of personal relationships.
But the objectification of the body, linked to its traditions in the history of art, where feminist movements and gay art have developed an extensive arsenal, generated other readings to which this type of work is not exempt; beyond referring to the body as an instrument of communication or as a sieve of individual experience.
I was then inclined to highlight how particular reality is projected towards general structures, which are nothing more than the large-scale reflection of the individual, and with this aim I began to develop works with an increasingly hermetic content until reaching abstraction, investigating the representation of the individual and his context through a scheme of variations of axiomatic situations, and starting from the cube as a variable structure.
Intermediate parts
From the series: Communicating vessels.
Molds of necks cast in epoxy resin,
light bulbs, cables and electricity. 2001
Communicating vessels
Wood and epoxy resin. 2002
Finally, there is empty space, and with it the possibility of a new element, to which changing connotations can be attached. Emptiness as expectation, but also as the ungraspable, chance, or the mystery of a different situation.
…Finally, the cube is resized through painting. I start from a digital experience to arrive at traditional forms of representation such as oil and acrylic on canvas, or like casting to achieve a sculpture, looking for the sculpture on the canvas, trying to make the figure change according to the viewer's point of view, or extending the canvas into space so that the viewer becomes part of the sculpture.
In painting, the reference to the object and abstraction coexist. By taking the analysis of the cube to the canvas, with its corresponding areas of shadow and reflection, it is the angle of vision of the viewer that redefines the existence of certain planes. The relationship between metallic and matte pigments of similar colour and tone may correspond exactly on one plane of the object, but the point of view can lead to the appearance of other planes within the same, given the relationship between traditional oil colours, which tend to remain as such regardless, as opposed to metallic acrylics, of a more recent origin, which change according to the angle of vision...
Untitled
From the series: Flesh, lead and emptiness
Untitled
Acrylic on canvas. 2018
