Some time ago, my friend and painter Gabriele Fettolini called me telling me to empty the warehouse of a fine art store around the corner from home. I went there and then I remembered the movie Zorba the Greek, when dying Bubulina, Zorba's mistress, older people are in the room waiting for the outcome to seize other property they could. For as those usurpers entered the musty warehouse crammed with precious objects: reams of paper, paints, pigments, etc.. The strength and the opportunity he gave me two trips to the store to my shop because the crowds swept the shelves in a matter minutes. This plundering is a stack of colored paper cards chickpea.
Start a new series of works on these cards motivated by many ideas, the mirror, the reflected image, the Cave of Plato , the Rorschach Test and the concept of the Other . Technically I wont work almost like an engraving: pinto on a card which acts as a matrix, with fresh paint put up another card on which I exert a certain pressure. By separating and taking one side as the axis of rotation, the image is complete. The strokes on one side were made with intent, passed through the filter computer in my head and hand movement. The resulting reflex have a different spirit, I recognize but others are.
Mirror 1. I think in a sea of another mirror. Currents and seaweed on the move.
Latest work from 2010.
On the shelves where I keep the papers, half-hidden, were the remains of a ream of paper with beards that I bought over 15 years. The time they left marks, wrinkles and blemishes as we appear to people as we age. They were like an old man without more experience than the passage of time. It was then treated with care, gently move them and give them an experiential content.
Using the pad of a medication bottle and soft spatula, were appearing on the skin of palpel points and lines as spots and wrinkles, and not a result of the passage of time, but of her own life story. Names and dates, friends, girlfriends, and order moments of madness, relationships and links, real, invented, broken or constants.
Poetry makes us human, we are left without her lifeless skin.
See work available and prices
I'm still in the task of sorting and applied to the work site and have a few years but remain in full force and effect.
L'Avenir was the result of chance (again) and the need to shape the image of my father (he died when I was 2 years) gathering photographs, yellowed letters and memories of others. Rummaging through my mother's old albums in Montevideo found your profile cut in black card, memory of his trip to race in Rio de Janeiro in 1948. That black spot was an abstraction but he was. I brought him to Barcelona with photos and many other images in my head. Fate intervenes capricious and accurate making me stumble on Las Ramblas with roaming profiles on black construction paper cut out ... It had been 50 years between the two rounds.
Back at the workshop had his profile and mine faced could finally start a conversation transcending time and space.
L'Avenir, 1998, paper edition, folder 30 sheets of 25 x 21 cm. Bound in cloth by Pamela Moore .
Text of John Franklin Carvajal for the exhibition catalog L'Avenir Recent Work / Oui-ja / Diari d'Avinyó in the Municipal Museum and Historical Archive Cabildo, Montevideo, Uruguay, in March 2000.
The silhouettes of the shadow of the series L'Avenir finished windows are properly carried out on the edge geometry of Time. When viewed from afar, the whole reveals his condition of mental construction and structural design consists of a number of focal points should be arranged to form a combinatorial network alternating the focal point and the empty space, as in the typographic art. And if you approach each window look or silhouette will have before it places, gestures, words, symmetries, wings, wheels, wind, textures, spirals, the ratio of a journey, a beating heart, day, sex, architecture, impulses, differences, faces and even the street map of this room and this exhibition and also the eye that is watching now and it is reflected. No matter harder than the matter of time and can only mold the report. Point by point, that and only that.
