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Inadvertent Traces of Time, 2013
Gal. Le Laboratoire
Mexico City


The unnoticed traces of time

“For years I have done work that develops  through tours, paths and walks. I document and record in various ways the traces of time and the memory of each place where I work, the landscape I travel or the one I inhabit. It becomes at times a tracing, personal and emotional mapping of those sites that I explore.

Objects can be stones that I collect, vegetation, maps, drawings, photos, impressions of streets or cracks in the road, and short videos. These are eventually turned into paintings, sculptures or photos, occasionally into installations and interventions in specific public places.   In each site I try to make the "memory" visible, by using   the   marks, footprints and cracks in the environment of the rural or urban landscape that I travel or inhabit.   

Perhaps the objective is to make the invisible more visible, to make evident the inadvertent traces of time and memory of each site. It is a way of entering the details of the everyday surroundings, often unnoticed and overlooked, 'drawings' of the footprints  of each site, the topography, generally seen but not perceived ”.  

                           Pearl Krauze

It consists of three nuclei of the artist's latest work: paintings, work tables and photographs.

In the conjugation and fusion of these 3 axes, dualities are embodied between the natural and the artificial, the rational and the emotional, the permanent and the ephemeral.

His work talks about the landscape, nature, time, process, path, transformation, journey,  Ascent, descent, precariousness and silence: they are constantly present in his work.

The painting speaks of the concrete processes of its elaboration. He begins with records and imprints from his own workshop (José Alvarado 24A, Col roma), also uses the frame and its structure, staples, tacks  or fabrics that compose it as  integral part of the object. The layers of paint show the stages of time and allow  see the imprints of those floors and pavements or it becomes paint that left behind the traces of the site, and yet  they are still present there.

In the two work tables and in their objects, matter and the world of the material is fundamental: he works and explores the same with lead, aluminum, cement, resin, wood, graphite, clay, stone. Sometimes he draws on them, or builds, at other times the matter is  evidence in its artificiality or timelessness. There is a natural temporal activation: The work tables are testimonies that reveal the traces and memory of their findings and of their interventions and / or transformations to the matter and what it finds on its way. They become unique objects or as a whole are almost archaeological finds, fossils and artifacts or installations of the informal market.

The "forest" installation is made from vegetation found and collected in routes, cast as unique pieces, without cast aluminum molds. It gives them an almost fossil feel  of what was found,  thus making the ephemeral permanent.

The photographs on this occasion are records  of the sea and the light, carried out daily, at the same time during a tour, in this case through the Caribbean Sea. They could well be expansive discourses of becoming and of the memory of the artist's journeys: a way, as Bachelard put it, of “materializing the imaginary”.

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