First of all, from a concrete point of view, the thread can be made of wool, iron, hair, plastic, rachis, cotton or linen. But the main thing is that all the pieces raise the question of thickness within the framework of a three-di- mensional vision. Organic or geometric, all the works trace a path into the depth of things, each time in a unique way. The threads clearly establish a continuous and discontinuous reading of the space. Through different systems, they orga- nise a pervasive presence in the works. They construct perceptual traps for the viewer's gaze.
They reveal an unknown sensibility that transforms our interiority. Surface beco- mes depth, right and wrong become one, inside and outside encroach. Life insinuates itself, surreptitiously, into the folds of things. A whole hollow world appears, where emptiness is not nothing.
When Cézanne repeatedly painted Mont Sainte-Victoire, he was in fact thinking and fracturing space. All the works in this exhibition show us concrete, diverse and very different structures. However, the same motif runs through them: a mental space which moves our perceptual boundaries.
Through the works, we must overcome obstacles and go beyond our categories. We need to think differently, not only about words but also about things. Art doesn't render the reality of the world, it thinks it. As Leonardo da Vinci said: “La pittura è cosa mentale”, that is: painting is a mental thing.
In this exhibition, the works that irrigate our mental structures place our bodies at the center of the question of action: how should I feel and understand the world? Art is concerned with this mysterious operation that occupies our bodies: inhabi- ting the world.
Diego Velázquez's painting Las Meninas answered this question in painting a very long time ago, by opening a door in art that will never close again: it posed the primordial question of space in art. The artists in this exhibition all update this primordial question that space asks in the aesthetic dimension. But they place the works in a strict three- dimensionality.
After Marcel Duchamp, art also became sociological, which is evidenced by the works in this exhibition, where objects or things are diverted from their function. And if Dadaism and Surrealism paved the way for contestation and the irrational in art, the artists in this exhibition have skilfully benefited from these contributions by integrating subtle or discreet novelties thanks to their particular use of thread. And finally, geometric abstraction is seen in this exhibition to be thick and stitched, which definitely alters its flatness. In conclusion, the words embroidered by Louise Bourgeois: it's the reverse side that tells you the truth.
Victor Hugo Riego
First of all, from a concrete point of view, the thread can be made of wool, iron, hair, plastic, rachis, cotton or linen. But the main thing is that all the pieces raise the question of thickness within the framework of a three-di- mensional vision. Organic or geometric, all the works trace a path into the depth of things, each time in a unique way. The threads clearly establish a continuous and discontinuous reading of the space. Through different systems, they orga- nise a pervasive presence in the works. They construct perceptual traps for the viewer's gaze.
They reveal an unknown sensibility that transforms our interiority. Surface beco- mes depth, right and wrong become one, inside and outside encroach. Life insinuates itself, surreptitiously, into the folds of things. A whole hollow world appears, where emptiness is not nothing.
When Cézanne repeatedly painted Mont Sainte-Victoire, he was in fact thinking and fracturing space. All the works in this exhibition show us concrete, diverse and very different structures. However, the same motif runs through them: a mental space which moves our perceptual boundaries.
Through the works, we must overcome obstacles and go beyond our categories. We need to think differently, not only about words but also about things. Art doesn't render the reality of the world, it thinks it. As Leonardo da Vinci said: “La pittura è cosa mentale”, that is: painting is a mental thing.
In this exhibition, the works that irrigate our mental structures place our bodies at the center of the question of action: how should I feel and understand the world? Art is concerned with this mysterious operation that occupies our bodies: inhabi- ting the world.
Diego Velázquez's painting Las Meninas answered this question in painting a very long time ago, by opening a door in art that will never close again: it posed the primordial question of space in art. The artists in this exhibition all update this primordial question that space asks in the aesthetic dimension. But they place the works in a strict three- dimensionality.
After Marcel Duchamp, art also became sociological, which is evidenced by the works in this exhibition, where objects or things are diverted from their function. And if Dadaism and Surrealism paved the way for contestation and the irrational in art, the artists in this exhibition have skilfully benefited from these contributions by integrating subtle or discreet novelties thanks to their particular use of thread. And finally, geometric abstraction is seen in this exhibition to be thick and stitched, which definitely alters its flatness. In conclusion, the words embroidered by Louise Bourgeois: it's the reverse side that tells you the truth.
Victor Hugo Riego
