Crucifixion/Cadaver Exquisito – A Dedication to Francis Bacon

As the title entails, this piece is meant as a three-dimensional dedication to the painter Francis Bacon. One of his crucifixion paintings inspired the figure, as well as the intent of the base from which it hangs. The base is alike to the kneeling bench in catholic churches, both in color and in padding, and at the same time, shape wise, it is like the hook from which poultry hangs. I’ve always found myself extremely interested to Bacon’s commentaries on life.
I find him to be a ‘‘true realist’’, in the sense in which he looks at humans as just a beautiful, and at the same time horrendous, compilation of skin and bones, not any different to an animal in status or design. Bacon’s technique might not be realistic, but his ideas are as real as it can get. The decision to use animals (= monkeys, chimpanzees, dead poultry) in his crucifixion scenes just strengthens the idea of no status difference; they are worthy (or condemned) to suffer the same ways we do. As I interpret it, Bacon saw us as exquisite corpses (cadaveres exquisitos), not as in the surrealist collaborative artistic method, but as beautiful and complex moving cadavers who work in surreal ways.
These piece is part of a show, the Miniature / Micro-Monumental, in the Townsend University as of now, and until the beginning of November. After that they will come back to the University of Delaware together with other student’s work from Townsend and displayed here. Hopefully the show will make their way to Asia afterwards, to both Thailand and Japan.

Poem Series: Vero/Angela/Maiki

''Vero''

''Angela''

''Maiki''

These I like to describe as my poem series. Basically the pieces come into existence after I undergo a specific process. This involves me remembering. I remember specific people, places, situations, but mostly people. Friends, family, old lovers, and while I do so a make these intricate porcelain pieces that I believe incarnate them. To be able to instigate my remembrance of them, I set up a situation were I believe to remember them best. This may be by reading old letters or emails, by engaging in conversations with them online, or/and by listening to specific songs. It’s a simple process, they are simple pieces, but it’s a complex subject for me to deal with, and it’s personally important that I do so. It keeps me at balance, and from going insane.
The palettes have come to signify something truly important in my work. In some pieces they are the material that already has a weight, a history, which adds a complete different subset to the work. In these pieces the palettes are exactly what they are in normality, a platform for an object to be sent. This way I send off my strapped poems out to the world. They were written, composed, or formed, for someone far away, so it just seems proper that they have the same fate, to travel far away.
These pieces are part of a show, the Miniature / Micro-Monumental, in the Townsend University as of now, and until the beginning of November. After that they will come back to the University of Delaware together with other student’s work from Townsend and displayed here. Hopefully the show will make their way to Asia afterwards, to both Thailand and Japan.

Miniature Monumental - Process

These are two other pieces I have been working on the side while I do my big mountain project. They both will, hopefully, be part of a show in Townsend University in Baltimore, Maryland, called ¨Miniature Monumental¨. It’s a little nerve wrecking, because there are so many things happening, and this being my first opportunity for an out of DE show, and will maybe even go over seas, but luckily they are tiny, even though I want to work on more of their details. I’m thinking of making two more too.
The waxed hare, tooth and cardboard house I have decided are a self-portrait. The other one will be called either Crucifixion or Cadaver Exquisito (Exquisite Corpse in Spanish), accompanied by a second title, Three Dimentional Homage to Francis Bacon, or A Dedication to Francis Bacon.
I will give better, clearer explanations when I finish them.

Progress - Corte Y Fuera

I have been working on a very time consuming piece the past couple of weeks. The most basic explanation I can think of is that it will be a wooden mountain (or group of mountains rather). It will be 21 feet long by 19 wide, varying in heights, with its highest point (mountain) being 7 feet tall. The highest peak is divided by a fake wall, which creates a small passage between the space's walls. The whole structure will be made out of salvaged wood, mostly palettes, which are cut to specific sizes and angles, but left untreated. On the mountains would lay small cubes that imitate the formation, organization and spatial designs that can be seen in Latin American slums, but I try to make the objects extremely simplified, so interpretation of what the cubes are can be very open ended. I still have not decided on the material that these cubes will be made out of, but I am experimenting with different things, mostly clay as of now.

It's very hard to explain it, but I hope the images help. All I know is that I see it in my brain, and I cannot stop dreaming about walking through this installation. I am truly exited and want to finish this piece by the end of this semester.

From Here To Nowhere @ Old College

Installment pictures taken by Grant

This past weekend of September 12th I displayed a sculpture in the green areas surrounding the Old College area. Here are some of the images of the installation of the piece, and of the piece it self.

The sculpture, From Here to Nowhere, is a collection of 10 pedestrian signs that vary in height. White arrows surrounded by a white frame intend to create a personal image of the nonexistent object or place that one searches for.

Two different ideas are entwined with this piece: life goals and bilingualism. As one interacts with the piece, following the signs or just thinking about what they may direct to, one searches after something that is not there, that way commenting on the things we miss on our day to day lives while trying to reach what we may imagine to be a bigger, most important, life goals. On the other hand there is the idea that I cannot control what the public reads from the piece, which is always a factor when displaying work.

English is not my first language. Sometimes, actually almost always, I don´t know if what I said was really what I intended, or if what I heard was what was said. This is why I chose to make the piece so vague, to reference the strange case of having to translate everything on my brain to a different language.