This playful exercise is the way that we found with Juliana Góngora to start a dialogue and imagine possible routes of collaboration between our works. The setting for this meeting is a game that follows arbitrary instructions, such as randomly choosing a product from a food dispenser. Then, we choose the image of the turtle to open new paths of thought and unexpected drifts in our processes: thinking materially about its shell –which is an exposed bone that is formed from the spine outwards, but looks like a stone–, in the relativity of time, the idea of movement, among others. Do more weight and less speed implies a lighter body?
Project with Juliana Góngora, Artbo fin de semana
Project with Juliana Góngora, Artbo fin de semana
This project started as a dialogue with the pictorial work of the Antioquian artist Alvaro Marín, who has been exploring the geometric figure of the square throughout abstract paintings, since the early '70s. For this, I did 4 works (or sides of the problem). Two cylinders that depending on the angle can be viewed as a circle or a square, which is a diagram used to explain that light –essential for painting– can be at the same time a wave or a particle. A series of photographs from Nancy Holt's sculptures Sun tunnels –that reminded the previous cylinders– but also digitally threatened to explain the passage from the analogic grain of the photographic paper to the pixels of the screen. A wood structure simulating a rotatory door (once again recalling the cylinder) made out of modular canvases and, finally, a broken painting referencing the idea of flatland and a granite floor. All the pieces challenge the association and historic relationship between the square and its opposite, the circle.
Project with Alvaro Marín, Lokkus gallery
Woodwork: Juglans & Regia
Project with Alvaro Marín, Lokkus gallery
Woodwork: Juglans & Regia
For the second iteration of Carbon Copy, we decided to do a one-day show at a private alley (in Pilsen, a Mexican-Latino neighborhood in Chicago) where about ten apartments intersect. The shape of this place was the one of a p, or a b, or a d, or a q, depending on the rotation of each letter. My contribution to the exhibition was 4 printed images depicting 4 French words: detour –a deviation from the original course–; parcours –a route or direction without obstructions–; boucle –a loop (which is also the name given to Chicago’s Downtown)–; and quiproquo -word game, funny misunderstanding or replacement of one subject for another (mainly in the theater)–. The intention was to reinforce the strange structure of the architectural space and, at the same time, enlist 4 possible ways of thinking. In that same spirit, the fluorescent green extension cable that serves to power on the lightbox where the prints are hanging also follows an absurd parcours, boucle, and detour from the interior of the basement to the exterior, emphasizing the proposed word game but maintaining its main function –conduct electricity–.
þ, Carbon Copy 2
þ, Carbon Copy 2
This project takes its title from a personal anecdote around a travel to Uyuni, a small town in south Bolivia, which is the point of entrance to a natural park that includes the largest salt desert of the world, as well as other particular landscape sights: red lagoons, an island of cactuses, sand dunes, gigantic plains and rocks in form of trees. The dilemma, or thought experiment, in this case, has to do with the impossibility to recreate a specific moment from that trip, let’s call it a sublime moment, and try to record the whole experience in my brain. Now I wonder, is it possible to address a memory just by thinking of it, or by thinking in similar memories? Can that memory can be as powerful as the original experience? Can it be better, different, worst, more unique? Can those questions be transformed into visual problems for an audience that doesn’t have anything to do with that story or context?
Within Receding Horizons, Sullivan galleries (SAIC)
Within Receding Horizons, Sullivan galleries (SAIC)
This is a glass of milk, or acrylic, or glue, or cream, or detergent, or soap, or oil, or tempera, or yogurt, or gesso.
Gabinete 13, Lokkus gallery
Gabinete 13, Lokkus gallery