Art

Introduction

The most important and essential condition and concept of the present development of my work, is the cyclic and continuous recurrence of one and the same image. The fractal construction of visual languages has and generates a consistency and tenacity of its own. The obsession to reveal the image of the image, the hidden, insinuated and never evident, and nevertheless exposed “component”, transforms the object in the representation of (its) the concept. Through the mono-chromatization of one or a series of images, for example, a visual association of similitude between representations of opposite conditions (or concepts) is designed and constructed. The result is an inalienable tension, constitutive of not only a specific human situation, but of the human as such.

Another complementary element present in my work is virtuality, that is, the latent iconography and symbolism in the construction and design of all the image and installation works. The image that is to appear and that is to be read between lines, is the result of intangible supports as slide projections; and with the virtuality of this third image (superposed and composite images from two or more projections) I wish to refer this precise characteristic of talent and underlying tension that is nothing other than the human phenomena itself. Only humans carry along with internal or inherent contradictions, which suggest that these are not accidental but constitutive of the phenomena that we call the “human” (the phenomena of excision of an exterior self and an exterior world, that is to say consciousness).

There exists a tendency that is I believe not accidental nor casual, to translate the observation and association of ideas that allude to rituals, conditions, and human behavior in aesthetical propositions that in some way define or relate particular forms to conceive and establish ambivalent possibilities of (s)election. Our “ability” to feel, to think, and choose as individuals factually comprehended within opposite or complementary contexts of sense, is too often the central and most tenacious and resistant concept within an aesthetical proposal or production.

“Morose Delectation on Blue Roses”

Place: silos at Parque de Los Reyes, Santiago, Chile
Date: april 16, 1997
Audience: 300 spectators
Morose Delectation on Blue Roses is a multimedia performance developed and displayed by seven slide projection units (in simultaneous use), a video projection unit and a concrete music soundtrack. The different formats produce an audiovisual sequence lasting 15 minutes.
The mise in scene, the operations of concealing and insinuation of this aesthetic of virginal passion, or, in other words, the feminine vision and(of feminine) desire veiled and unveiled in this(it’s) seduction for(by) purity, wish to thematize and problematize the female body as virtuality of the habitable , which it is contended for the same passion that goes beyond – exceeded by this passion that itself contains, in the most voracious and extreme way. Abstinence and purity – only make sense within an economy of accumulation for a final and infinite excess, sacredly violent.

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