With Roca Carbon ( Charcoal Rock , 2012) and Roca Grafito ( Graphite Rock , 2012), López plays with our relationship to inert and unremarkable objects such as rocks. Traces of art history reverberate through the sculptures; their mediums reflect traditional materials for drawing and sketching, and the simplicity of their forms gesture toward minimalism. But López dislocates these common objects from their ordinary utility by replicating their component parts in paper, graphite, and charcoal, thus drawing attention to mechanisms of representation and translation.
Though he often works with paper and traditional techniques such as lithography, Mateo López is interested in expanding the scope of drawing and frequently operates outside of traditional studio situations to conjure personal experiences. His early studies in architecture equipped him to consider his medium in terms of time and space, and in three rather than two dimensions. The portability of López’s methods, along with his personal approach to collecting information from his personal journeys, has become a trademark of his installations. Drawings and trompe l’oeil objects, ranging from apples to clothing hangers to doors, extend beyond their sources of inspiration as sensuous entities, creating their own life in a Proustian narrative.
Nicolas Paris studied architecture and worked as an elementary school teacher before he decided to become an artist...
Casa de la cabeza (2011) is a drawing of the words of the title, which translate literally into English as “house of the head.” Ortiz uses this humorous phrase to engage the idea of living in your head....
Mapa-Mundi BR (postal) is a set of wooden shelves holding postcards that depict locations in Brazil named for foreign countries and cities...
Drawn from the widely circulated images of protests around the world in support of women rights and racial equality, the phrase I can’t believe we are still protesting is both the title of Wong Wai Yin’s photographic series and a reference to similar messages seen on protest signages...
Destilaciones ( Distillations , 2014) is an installation composed of a group of ceramic pots, presented on the floor and within a steel structure...
With a habit of reading eight to ten books at the same time, Chong paints his two-foot tall novel covers through referencing an extensive reading list (accessible on Facebook) he has kept since 2006...
Part of a larger series of photographic works, Alessandro Balteo Yazbeck’s Corrupted file from page 14 (V1) from the series La Vega, Plan Caracas No...
Primero estaba el mar ( First Was the Sea , 2012) is a system of equivalences between syllables and silhouettes of waveforms cast in cement...
The work Calendars is composed of 1001 images of deserted public areas in Singapore printed on pages of a calendar set from the year of 2020 until 2096...
Gabriel Kuri has created a series of works in which he juxtaposes perennial and ephemeral materials...
In his project Instituto de Vision (2008), Consuegra investigates how modernism gave rise to many new technological forms of vision, most notably the camera, yet also resulted in the disappearance of outmoded forms of vision...
The first iteration of Flutter was specifically conceived for the Pro Arts Gallery space in Oakland in 2010, viewable from the public space of a sidewalk, and the version acquired by the Kadist Collection is an adaptation of it...
Pablo Rasgado’s paintings and installations serve as a visual record of contemporary urban human behavior...
Composed of four images, the series Sleeping Elephant in the Axis of Yogyakarta (2011) explores the artist’s observation of how Javanese mythology and cosmology have marked the geography of Yogyakarta, the cultural centre of Indonesia...
The primary interest in the trilogy is Joskowicz’s use of cinematic space, with long tracking shots that portray resistance to habitual viewing experiences of film and television...
Calle’s drawings all inhabit received forms but alter them to call attention to specific qualities...
For Untitled, Caesar encased recycled objects such as scraps of plywood, paper or cloth in resin and then cut and reassembled the pieces into abstract forms...
The primary interest in the trilogy is Joskowicz’s use of cinematic space, with long tracking shots that portray resistance to habitual viewing experiences of film and television...