"En Bola" during de stijl | Podium for Art

July 6, 2017 - photo frame

Though “En Bola” is a work of 6 artists, it functions as a work of three. Each pairing of makers has a possess impression with a possess philosophy, that together form a cohesive, multidimensional experience. Lisette Chavez and Michael Anthony Garciá mix settlement with a body. At a same time that they anxiety clothing, upholstery, and wallpaper, they also occupy a body, generally a face, minimized to a unclothed essentials – eyes, mouths, noses – done scary for their isolation, as yet they’ve been sliced away. Their video projection, Love to Hate, Hate to Love, depicts a framed blueprint of a nose and mouth, teeth revealed – an design that is steady in a pair’s sculptures, Cantilever and Is This Seat Taken? In Love to Hate, Hate to Love, a usually video square in a show, tellurian eyes dot a wallpaper. The eyes are closed, yet intermittently, and though warning, they jerk open, creation us a watched ones.

The detailed work of Mauro C. Martinez and Hector Hernandez is puzzling and striking, and like that of Chavez and Garciá, uses a physique as a anxiety point. In Nomad, a bare woman, face dark by hair, flings her arms back, pelvis forward, as a red and yellow call pours from above, descending like a tongue of fire. The word “nomad” is scrawled in black opposite a core of a image. In another photo, Citizen, what might be a same figure has carried her head, lifted a knee, and thrown her arms high, reaching behind to another swatch of red, a garment drifting behind her. As in a initial image, she is blurred. Even yet she faces us, her facilities can’t be done out. Chavez and Garciá singular out mouths, noses, and eyes; Martinez and Hernandez problematic them. The word “citizen” is created in black oil to a left of a figure. Nomad and Citizen have equal power. One can’t tell if, from a artists’ perspective, a wayfarer and a citizen are a same. A wayfarer might be placeless and a citizen inextricably related to a place, yet in these images, any are mislaid and found.

Jean-Sebastien Boncy and Roberto Jackson Harrington’s Take a Peek Version 1 is a waggish Rube Goldberg-esque snarl, a mash-up of equipment – pencils, sunglasses, keychains, toys – trustworthy to a roof by brightly colored rope. The sculpture functions as a support for a elementary sketch during a center. It might be an dull lot bordered by a apart fence, yet it doesn’t matter much. The objects are a thing. In a separate, standalone sketch labeled Untitled, a timber blockade stretches in front of a prefab house, a house’s beige siding creation a appearing bulwark. Two tiny blue flags and a piece of potion can be done out on tip of a fence. The objects shouldn’t be there, yet they make sense. They are a kind of anonymous, counterintuitive artifacts that spin adult on any suburban block, like an unclaimed movement figure in a gutter or a tire pitch with no one in it. Unlike a sculpture, here a print frames a objects, lending them a reliquary quality. Yet a design is mundane, a extraordinary contradiction. As with a resounding eyes and a convulsing nomad, even this artless design is inhabited by chaos. And harmony. That’s a pleasure of partnership (and relationships). Each artist relinquishes some control. The outcome is disorderly during times, yet mostly melodic. It is shrill and still during once.


“En Bola”

de stijl | Podium for Art, 1006/1004 W. 31st, 512/354-0868
www.destijlaustin.com.
Through Aug. 12

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