March 24, 2016 - photo frame

Ricardo Rodriguez Representacin Topogrfica

Sometimes a suggestions an design incites are some-more absolute than a design alone.

With thought comes intrigue. There’s a healthy oddity about a artist who propelled those suggestions in a images we see speeding opposite your intelligent hemispheres. It’s usually dual measure — maybe three, if you’re lucky. How could they know it would impact we a proceed that it does?

Artist and clergyman Ricardo Rodríguez, a tie in a Ventura humanities scene, knows a grind it takes to get to a indicate of building those suggestions. Some of a many distinguished examples of his art pronounce directly to a bizarre horizon that connects a heart and a mind. In “Re-Frame,” a steer of an dull design support placed atop perfectly-tilled farmland summons adult thoughts of guarantee and potential. In “Trapped Between,” tender black wire wends a proceed by white blocks placed delicately around a gallery — provocative in a invitation, severe a spectator to not usually hold yet re-touch as well. In “Tissue,” what seem to be tellurian materials bond themselves directly from a design to a imagination, relocating in a ballet of pointed and severe creativity. Rodríguez’s work is abdominal nonetheless minimal, evoking a biggest of emotions from a barest spin of a eye as it moves opposite a artwork.

Ricardo Rodriguez, Re-frame

With this in mind, does his work fit into a incomparable Ventura County humanities stage — or is he out there on his own? “I’ve lived in Ventura for 6 years,” Rodríguez explains, adding, “And I’m partial of a Bell Arts Factory off Ventura Avenue. we was a residence member there, and I’ve run a Tool Room Gallery and I’ve curated a Bell Arts residence studio there. So I’ve worked as an artist and also a curator.” There’s a clarity of a past tense. What happened? “I’ve been operative during a propagandize for 5 years,” he says with a sigh. “I was travelling from Ventura to La Cañada Flintridge any day for 3 years — 70 miles any way, about an hour-and-a-half. So we was in a automobile 3 hours a day — and on tip of that, when we came behind to Ventura, I’d have to go to a gallery and work, or go to meetings.” That kind of pillar-to-post vital contingency have been exhausting. “The pushing took a lot divided from my possess personal work — so we had to make a decision. we unequivocally adore a community, yet we had to pierce closer to work so we could indeed furnish some-more work of my own. I’m still active adult in Ventura, even yet we don’t live there; I’m unequivocally active there still from here.”

As for if he sees anyone in Ventura doing art identical to his, he’s tactful and expansive. “I did a partnership in Ojai with one Ventura artist — the ceramicist Janet Neuwalder. Her work would not be deliberate normal ceramic work; it’s some-more like a unpractical proceed to a medium. There’s a organisation of artists adult here that’s a younger era that are exploring a middle in new ways; some-more conceptual.” As for a stream state of a humanities in a county, he enthuses, “Definitely, in Ventura, we consider it’s an humanities village that’s flourishing any year. I’ve been unequivocally impressed. When we got there in 2008, we consider it was, there was a large art village since it was easy-to-find; it wasn’t hard.”

How did he start out when he initial arrived? The answer lay during a nascent Bell Arts Factory, a former mattress bureau during a easterly finish of town. “When we started out during a Bell Arts Factory, a two-room gallery that was there wasn’t using — basically, it was usually used as storage. So, we offered, pronounced I’d be peaceful to run a gallery; we bound it adult and they gave me a thumbs-up.” How were his efforts received? “It was a matter of reduction than a year and that gallery was already being beheld by a lot of people in Ventura. I attempted to showcase artists that were some-more contemporary — some normal media, yet people who used them in a opposite proceed and would somehow raise a Ventura community. we consider now, generally with a ArtWalk [that was run by a city], now a artists possess it themselves.”  

When asked about a disproportion between a Ventura and Los Angeles humanities scenes, Rodríguez puts all into perspective. “It’s small, a lot smaller than L.A. — they support any other, and a discourse is a lot faster. More dynamic, since it’s smaller — plus, in L.A., things get mislaid since there are so many art shows during a same time.”

There are several photographs of his sculptures and installations on his website. As multidimensional as his work tends to be, a doubt arises: are those photographs something that complement, or complete the work? At this he is unequivocal. “The photos that we see on a website are usually a support of a tangible exhibit. “Trapped Between,” itself, is mounted on a row and we literally drilled a hole where a wire is and we put a wire from behind, entrance out. They’re both contained in a same image. It’s a multiplication between what’s genuine and what’s fiction.”  

Are there any other examples of this sold artistic opinion that shabby him? “The final few years we photographed wrinkled paper (for a array “Representación Topográfica”) with a pinhole camera — a wooden box, 40 by 30 inches, adding, deliberately, “By photographing photo-sensitive paper, we went to a basis of a middle — light attack on an object, bouncing behind and being recorded.”

With minimalism — both in a office by artists and a appreciation by audiences — there’s a slow incentive to keep stuffing adult space. It’s as yet there’s a vigour to have to come adult with an pretext — a motive for a unequivocally existence, since people don’t like vacant space and aren’t gentle stuffing in that space on their own. They wish to have it filled in for them. With minimalism, it’s as yet a artists needs to clear a existence some-more mostly than with any other form of art.  

Ricardo Rodriguez, Representacin Topogrfica

Rodríguez takes these thoughts to heart and replies, “I like a lot of disastrous space. A lot of my work is minimalist – saying a thought of morality as being something some-more complicated. Even a “Trapped Between” array is some-more minimalist — there’s usually one intent and there’s usually one line opposite a show. The thing about disastrous space is that it’s not unequivocally negative. If we have usually 10 percent of a design filled, it’s going to be totally opposite if we have 80 percent or 90 percent.” It’s a conditions that involves information and chaos. “Maybe we wish a spectator to feel that chaos,” he says, explaining, “Even that wire in ‘Trapped Between’ — I come from Puerto Rico, so we grew adult nearby a sea and wire has definition for us. You also consider about things like labour — there’s a clever pitch of things between a lines there. When we go to a simplest things, and we take all a information out, we have to be some-more committed to selecting a right thing — and why. Why take all a tone out? Why usually use paper (as in ‘Representación Topográfica’)? Why not use a singular component that we wish to speak about?”

When asked about a new array he’s operative on, Rodríguez reveals, “I’m traffic privately with topographical maps, since they have this pleasing cultured to them that I’m intrigued by. The final array we did (‘Representación Topográfica’) resembled plateau and landscapes. The new things I’m operative on engage copy on transparencies; modifying a tangible topographical maps churned with genuine photographs of landscapes.”  

What’s concerned in this process? “I’m holding all a information that is nonessential out,” he says, elaborating, “Distilling it to see what I’m going to get during a end. There’s also a thought of a map as identity, and where you’re entrance from — that it’s a landscape that defines you, like a territory. It’s a same thing as a landscape that we’ve come adult with that defines what photography is, and what it should be — everything outward of that map can't be drawn.”

Ricardo Rodriguez, Through

Ricardo Rodriguez, Tissue

Ricardo Rodriguez, Traces

Ricardo Rodriguez, Trapped Between

Ricardo Rodríguez’s subsequent muster opens May 7 during FOCA (Fellows of Contemporary Art), 970 N. Broadway, Ste. #208, in Chinatown, Los Angeles.


Top image: Ricardo Rodríguez, “Cells.”


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