Exhibition: All That is Solid, 1998
Watch your Step!, 1998
214" x 105" x 100"According to his words, his latest works are "magnified recreations" of leftover materials from constructions. Constructions that in this case mean houses; rooms like bodies of blocks, bricks and cement; crowned columns of re-bars looking for the sky. Volumes that refuse to stop growing and add spaces, sometimes challenges to static, always to the security of its inhabitants, many in its convention in motley structures characteristic of the images of Latin marginal neighborhoods.
Surpluses of wood moldings, tables and strips reused time and time again soon to be rejected.
The metaphor of the coffin or sarcophagus with the "rancho" (poor Latin houses) becomes obvious, although it treats well but otherwise; in the last people will have to live, in the first death will find its complete shelter.
In any case, we spoke not only of a way of "visual reflection" of all artists, but of precise results of a surprising artisan capacity. Transforming, of a virtuous execution that, equally dominates him, sometimes dangerously, and other times it manages to mask a drama of fears and unsuspected dreads, feelings that eventually constitute the most relevant apsect of this young sculptor speech. To mask here means to unveil, to discover, to express through the hard matter that handles, the sensible fragility that the artist needs to declare.
The axiom this way refers to those other materials, ephemeral and unsuitable once used; despised when they do not serve anymore.
Constructions, testimonies, witness of the completed execution, relics of the paid sacrifice.
"Denunciations of a process that we know indispensable throughout western history, not for that reason omit to contain the anguish load that allows to discover us to be trapped in the daily fears, equal to that which the artist tries to exorcise. When inverting the direction in which the twisted metals point that no longer penetrate nor fix, but that leaves the body of the lacerate wood, when starting from the prefigured body in the mold or wood moldings, the artist violently responds to the violence that harasses him. Rashly he is trapped in the trap that he wishes to surpass, and at a moment to free itself of the pain, now he begins slowly to understand, slowly begins to value. Inescapable pain, is the price that we all must paid sometime if we want to grow, if we desire to mature."
- Miguel Von Dangel
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