Patofito Stills, Prints on photographic paper, 43 x 27cm, 2007
Coat, Carrousel, Narcissus & Dwarves, Patinated bronzes and waxes, 60x 85 x 50cm average, 2005
Embodiments (2005-2007)
In order to truly understand something we need to deeply embody it. We learn through our bodies, we absorb experiences, significant events and people that we are close to via incorporating their gestures, manners, expressions... Even the way we desire and how we project ourselves in the world is shaped by unconscious embodiments of experiences and relationships.
In this sense, the sculptural object establishes a particular relationship to the body, the physicality of the materials, other interactions involved in the process and an imagined audience. In order to make a sculpture one has to enhance perception, feel and sense the object not only intellectually but in many other levels, physically, emotionally... memories and dreams also take a very important part on this process. Embodiments emphasises the importance of this phenomena and how It relates to the practice of sculpture.
This collection uses bronze sculptures, film, drawing and installation to express how central embodiment has been in the practice of sculpture: The bronzes were made with the intention to create some autonomous entities which sprang from childhood dreams, bodily functions and desires. The drawings and installation were the storyboard and the props for the film.
The film titled Patofito was a deep dive on my first recollection of a public performance as an infant when I had to wear a duck like costume and sing a song. I was then very anxious and excited but my mom gave me the confidence to perform and go in front of the public to become “the best duck I could be”. In the film a child wearing Patofito’s costume transforms eggs he steals from a geese into tennis balls. Through a window he accesses a real tennis court where faceless tennis players use the balls o pound each other to death. Self-confrontation, anxiety and violence at the core of the subject become relevant in this short film.
In this sense, the sculptural object establishes a particular relationship to the body, the physicality of the materials, other interactions involved in the process and an imagined audience. In order to make a sculpture one has to enhance perception, feel and sense the object not only intellectually but in many other levels, physically, emotionally... memories and dreams also take a very important part on this process. Embodiments emphasises the importance of this phenomena and how It relates to the practice of sculpture.
This collection uses bronze sculptures, film, drawing and installation to express how central embodiment has been in the practice of sculpture: The bronzes were made with the intention to create some autonomous entities which sprang from childhood dreams, bodily functions and desires. The drawings and installation were the storyboard and the props for the film.
The film titled Patofito was a deep dive on my first recollection of a public performance as an infant when I had to wear a duck like costume and sing a song. I was then very anxious and excited but my mom gave me the confidence to perform and go in front of the public to become “the best duck I could be”. In the film a child wearing Patofito’s costume transforms eggs he steals from a geese into tennis balls. Through a window he accesses a real tennis court where faceless tennis players use the balls o pound each other to death. Self-confrontation, anxiety and violence at the core of the subject become relevant in this short film.
|
|