WORDS AND PIECES
Selection
FULL OF LOVE
Oil on canvas. 300 x 150 cm eachI don't know why, a cube rather than a sphere, or an amorphous form for example, persists in the mind as the first figure when imagining the concept of "space". I approach this mystery by returning again and again to the idea of the cube, thinking about how a cube can be so perfect that its angles fit exactly and its sides fit perfectly with other equally perfect cubes, filling a space with squares inside and out, and even further inside and even further beyond, to infinity...
The origin of the cube as a geometric figure, as a container and as a physical form. The idea of the cube with its imaginary edges delimiting an object, a concept, a word, the relationship between two elements, an event trapped in the cubic space that mentally delimits that event from others, perhaps occurring simultaneously, or at other times in that same space, or other possible events that are about to occur, in this or other contiguous or superimposed spaces.
When I think of the cube, I think of the persistence of mental boundaries that allow us to analyze, determine, define, name… they follow the geography of angles of perception and imaginary dividing edges that are the basis of thought, in its attempt to dominate and possess, beyond individual consciousness, a collective consciousness and intelligence…
HOLES
Holes is a series that addresses the changing conditions of the observer's own retina, highlighting how vision and temporality are inseparable elements...
These pieces take time. They are made in oil with extensive layers of oil, with a small brush to spread the paint carefully over the surface, in a process similar to that of handwriting, where every little bit matters, because it tries to retain a fragment of time, a moment of thought in which ideas are perhaps not the most important thing, but the act of thinking itself... (Continue reading)
Hole. Oil and acrylic on canvas.
170 CM diameter
NEST OF SPECTATORS
Nest of spectators is developed around the individual's view as a social piece, whose essence is extensible to the social group to which he belongs...
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WORKS WITHOUT SYSTEM
Highlighting the dissolution of socially shared meanings, due to the disconnection between political and commercial, cultural and tourist uses of public spaces, I group this set of interventions as a series of works without a system…
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WRITING AS AN OBJECT
The shift between different meanings, rather than the delimiting rigor of concepts…
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Procedural Project
A selection of installations and public interventions carried out in outdoor spaces in different cities in Spain.
They approach the language of art from a variety of themes, solutions, genres and media, developing several axes that I consider fundamental around the spectator and his relationship with information in a permanent state of renewal and consumption...
Procedural
A joint works project Yeny Casanueva / Alejandro González
(2007-2017) Enlarge!
Live Hard - Die Happy. Installation. Neon, sign, epoxy resin and patina.
180 X 30 X 25 CM
... in the neuralgic points of sensitivity that place the meaning of art beyond communication. I think of the superposition of various ideas that combine in the same sensorial result, through various genres, media, themes, aesthetic languages, moments in the history of art... I think of the different levels of incidence of a statement, from one individual to another, or from one moment to another of the same individual, mediated by his own time and changing perceptual environment.
I think of art as the need to fix the mutability of relations between concepts, processes, practices, tastes, desires... The need to order or fix the transience of relations between random elements, which are or represent a reality that is also changing, and which is like a writing whose ideas are infinitely interchangeable, denying the very limits of rational space/time as a support for all possible combinations of signs.
The reason for my work is to try to capture a fragment of that chaos that extends to infinity like the logic of fractals, where nothing prevails and at the same time everything is subject to essence, where some forms are replaced by others, some motives by others, and sometimes nothing happens.
I think about the non-transferable nature of personal experience. I am interested in when articulations of common meaning can arise from various sensibilities, generating instances-works, moments-works. When the motive, the subjects, the aesthetic reflection coincide in a specific place and moment, and a work of art truly happens.
However, in contemporary societies these relationships are sometimes dissolved, given the development of global communication mechanisms, the deployment of new forms of production, consumption and circulation of art, where time and speed become noticeable as forms of economy.
This is how I resort to working with concepts that have lost their effectiveness as autonomous practices, to find themselves in a state of intersection, and sometimes my works tend to underline this condition of current art, where the contexts and ways of establishing an aesthetic relationship are conditioned by a fluctuating event.
The need to establish the relationships between concepts and random events, which also represent a changing reality, is the basis of my creative processes.
(...) It is not about delving into the ideal of the absurdity of appearance; the genesis of restructuring takes on an empathetic character, by emptying the original object of all meaning. Yeny builds a whole plot from successive juxtapositions. She creates a mesh that generates itself. The forms and the visuality that are produced assume a singular autonomy. All this metamorphosis escapes the will of the artist to acquire its own life, its own existence. The classic principles of semiotic thought are subverted. The sign is replaced by Lacan's non-linear approach: no temple is erected above another, the whole is not apprehended as a whole. The receiver is also forced to order his own chaos. (...)
By: Jorge Fernández.
Director. National Museum of Fine Arts. Cuba
Presentation remarks.
Thesis. Higher Institute of Art (ISA) (Fragments)
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With Jorge Fernández at Procesual Art Studio, my teacher and tutor at the Instituto Superior de Arte (ISA) ... now director of the National Museum of Fine Arts Cuba. ... about 20 years later...
