Motivo para sábana (variaciones cromáticas), 2011
Fotografía directa impresa sobre papel. 44x62 cm.
Sin título, 2011
Adhesivo vinílico sobre pared. Medidas variables
The artist says: This is one more of the mutations acquired by my project of variations on vintage decorative patterns. These motifs start from a vintage design pattern: flowers that have set family rooms, kitchens, bathrooms, and formed clothing, towels, ceramics, cloths, etc. I conserve the original outline of the drawing but transform the colors. What we remember imprints on the memory feelings not necessarily truthful to what was lived. These alterations are the “chromatic and formal variations” of which this series is composed. Moreover, this design for massive consumption has been de-serialized and crystallized in one single object.
After LeWitt, 2011
Tiza azul sobre pared. Medidas variables
The artist says: Sequence, repetition and accumulation are strategies that I use in several of my installations. As if it where a graphic, a representation of brain waves. To create a rhythm in the corridor, an unoccupied space. To create it again.
The creation of number, ensembles or spaces involves a mental simulation of situations. Looking for species implies a thorough search in memory for vague fossil traces. These stories can be found in two points in situations that resemble and occupy a great part of wasted time: play and sleep or more precisely play and dream.
Mariano Sigman. “La maquina que construye la realidad”
Autorregulable I, 2011
Plástico de tipo alto impacto, vainas de plástico y burletes de caucho. 250 x 240 x 260 cm
The artist says: The work is a site-specific sculpture/installation for the prismatic cement volume that surrounds the second floor elevator. It is a plastic ensemble welded by heat, excluders and plastic sheath. It is an intervention that proposes a structure that surrounds and adapts to the shape of the building, almost as if it was its necessary space and as if it has a specific function.
At the same time that it evokes a deformed industrial, irregular and affected shape, it emphasizes on the given architectonic shape, sculptural in it self, that is to say, the cement volume. However, this emphasis is made through a material almost opposed to concrete, with a lot of color and shine, rigid in its end result although crossed by a process of alteration.
The composition proposes two fringes in united colors or sustained by sheath embedded between it selves. Both plastic wide fringes melted and sustained by thin rods propose on one side a situation of instability and fragility and fragility and, on the other side, a basic relation of verticals and horizontals, as a type of essence of construction.
Vuelo, 2011
Lona vinílica calada y pintada. 500 x 400 cm
The artist says: A gigantic dragonfly, floating in the air, in the space connecting the first and second floor at Proa. On this hole full of natural light, one can see the migration of a gigantic animal going to the river: the dragonfly flies and projects itself. A dialogue between the minimal and the baroque, the jungle and the city. A work produced in vinyl fretwork canvas, obtained of the residue of gigantographies.
The dictionary says about dragonflies: “Its natural habitat is the proximity of lakes, ponds, rivers and swans, given that its nymphs are aquatic. The dragonflies do not sting human beings, and are valuable as predators controlling populations of insects as mosquitos and flies”.
Anamorfía: Globo (Urbs et Orbis), 2011
Pintura y vinilo autoadhesivo sobre la vidrio, cemento y pared. Dimensiones variables
The artist says: During the installation, I seat at the Bookstore. I have to write a text on my work. Globe (urbs et urbis). The city and the world. The world as a globe. How to represent today’s world? I read in the Flyer announcing the exhibition: “a new world order”. I see in the shelf in front of me Foucault’s Dictionary. The cover image is for me like a mirror. I open it and read: “Utopia: for the classical period, utopia is fundamentally the dream of origin, of a world that insures the ideal display of a tidy scenario in which each thing, with its identity and differences, had its own space”. I read “During Renaissance, the signs of a system of forms, marks (signaturae), organized according to different figures of likelihood and linked through it to a content: the world of things”. I internally thank Foucault via Edgardo Castro. I say farewell and get out. The work was already done.