SCENES FROM A PLOT

PREFACE

The images and the following text use instants and verbs in the past. Working from memory does not have to be connected to black and white images and blurry blur. Memory can be understood as reminiscence. So there is a reconstruction of what happened but from the present moment. The different origins of these images have a double origin: on the one hand, really lived events of which some kind of trace has remained and, on the other hand, imagined situations.

Memory and imagination are two interrelated domains. The second serves as a suture thread to recompose the moments of our biography that we stored in the first. Hence, the virtuality offered by these mnemonic spaces serves as a sort of scenarios where these screened episodes take place.



EPISODE I

WHAT REMAINS


There was a time when my street had a different name. When I was little I had to call her by the old name so my friends would know where I lived. For the new, they did not know her. The old name was rather unpleasant and alluded to an old slaughterhouse that was at the other end of the street from where they made incisions and the animals were dismembered. I never got to visit him. Nor did I cross the stream that was in the back of my house. The little natural landscape to which he had access, until covered with a half-barrel vault, consisted of three poplars and the fragment of river that could see from the window.


Today nobody calls the street by his first name, nor do they know anything about the old slaughterhouse. Although my street and stream are covered, the incisions continue. They remain deep, too, unpleasant. However, there are things to rescue. In those guts is my childhood.

PROJECTED LANDSCAPE

Graphite on paper

11.8" x 15.7" /  30 x 40 cm

2016

 





WHAT REMAINS

 Oil on  wood

43.3" x 59" /  110 x 150 cm

2017

 





THE SWAMP OF

SADNESS

Oil on wood

14.9" x 18.1" /  38 x  46 cm

2017

 





EPISODE II

CHOREOGRAPHY FROM DIFFERENT CIRCULAR POSITIONINGS


There is a circular plot that has become a true choreography. It is inspired by the physical principles of elasticity in which we expand proportionally to the force with which we stretch.

When an object expands, it ends up becoming deformed. Extending in space means invading the space of the other. So the invaded subject can take two options: to dwarf and allow usurp or position and delimit their radius of action.

This last step is the one that makes us evolve. This development does not consist in waiting for the two banks of a river to meet, or to match what you are with what you would like to be.

SCENARIO FOR  A

CHOREOGRAPHY

Gouache on paper

9.8" x 15.7" /  25 x 40 cm

2016

 





CIRCULAR 

CHOREOGRAPHY

FROM DIFFERENT

POSITIONING

GENERAL ESSAY

Oil on wood

31.5" x 34.6" /  80 x  87 cm

2017

 





CIRCULAR 

CHOREOGRAPHY

FROM DIFFERENT

POSITIONING

STEP 1

Oil on wood

14.9" x 21.7" /  38 x  55 cm

2017

 





CIRCULAR 

CHOREOGRAPHY

FROM DIFFERENT

POSITIONING

STEP 2

Oil on wood

14.9" x 21.7" /  38 x  55 cm

2017

 





CIRCULAR 

CHOREOGRAPHY

FROM DIFFERENT

POSITIONING

STEP 3

Oil on wood

14.9" x 21.7" /  38 x  55 cm

2017

 





CIRCULAR 

CHOREOGRAPHY

FROM DIFFERENT

POSITIONING

STEP 4

Oil on wood

14.9" x 21.7" /  38 x  55 cm

2017

 





EPISODE III

THE SUMMER I NEVER HAD


Being born after the summer made me join the school early. I always justified my distractions to this overtaking. I did not feel that the level of maturity matched that of the rest of my classmates. This sensation caused a certain longing for what did not arrive.

I imagined that it was the time that

we could share,


we could hear,

we could look at each other,

we were able to ...

could be me

OPENING CEREMONY.  THE WAVE

Oil on wood

23.6" x 28.7" /  60 x  73 cm

2017

 





 WATER SLIDER. PROYECTIONS

Oil on wood

  39.4" x 28.7" /  100 x 73 cm

2017

 





 WATER SLIDER

Oil on wood

  16.1" x 16.1" /  41 x 41 cm

2017

 





 CONSTRUCTION. WUNDERBLOCK

Oil on wood

  23.6" x 31.9" /  60 x 81 cm

2017

 





EPISODE IV

VERSUS

 

Suspicion fosters submission and dependence on a risk of injury. My level of suspicion was increased to insomnia when I saw a couple of people in which one covered his mouth to whisper things in the ear of the other. Whenever I stumbled across this gesture and the two people looked at me, I immediately thought they were talking about me.

 

Impressions tend to have more presence than the things around us. They are real ghosts that accompany us even when we have our eyes closed. The creed I professed towards them did not make me feel like a foreigner when they came true. Hence, I saw fists attached to my chin or, worse still, words that turn into bruises due to the prolongation of the pain they produced.

 

The pain is exponential. You can go to the limit of pleasure. Both for those who practice it and for those who see it. I have played in both leagues. I turned the other cheek when I had no choice. But I have also returned them. Not who deserved them, that would have been an act of rebellion, but who made me believe they were superior.

VERSUS

Oil on wood

  27.6" x 27.6" /  70 x 70 cm

2017

 





IMPRESSIONS I.

CAMERA LUCIDA

Color pencils on paper

11.8" x 15.7" /  30 x  40 cm

2016

 





IMPRESSIONS II.

CAMERA LUCIDA

Graphite on paper

11.8" x 15.7" /  30 x  40 cm

2016

 





IMPRESSIONS III.

CAMERA LUCIDA

Graphite on paper

11.8" x 15.7" /  30 x  40 cm

2016

 





IMPRESSIONS IV.

CAMERA LUCIDA

Color pencils on paper

11.8" x 15.7" /  30 x  40 cm

2016

 





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