Trees
Monday, 12 October 2015 10:39
Written by Aurora Noreña
My series of folding trees on the horizon is part of a wider multidisciplinary project where the starting point is the inquiry about the fiction of the horizon.
Among my artistic explorations –sculpture, installation, video, and others-, those in painting appear to be particularly interesting. With pictorial resources in intersection with sculpture strategies, I achieve understanding of the horizon –and, as a consequence, the landscape - from a new perspective.
The strategies I’m talking about are those where I apply mechanical processes like folds, wrinkles and inversions, to the tree weave. The physical actions on the original drawing produce the variations among the different planes and give visibility to my symbolic trace on nature.
I’m seeking to get away from the nineteenth-century landscape representation and its tradition, placing the spectator in a new relationship with the landscape. Instead of the former frontal and contemplative position, he is now an active agent located in the middle of the landscaped event.
Some halos of light (remains of the sculpture strategies), cross through the consecutive planes breaking up into multicolored particles.
My series of folding trees on the horizon is part of a wider multidisciplinary project where the starting point is the inquiry about the fiction of the horizon.
Among my artistic explorations –sculpture, installation, video, and others-, those in painting appear to be particularly interesting. With pictorial resources in intersection with sculpture strategies, I achieve understanding of the horizon –and, as a consequence, the landscape - from a new perspective.
The strategies I’m talking about are those where I apply mechanical processes like folds, wrinkles and inversions, to the tree weave. The physical actions on the original drawing produce the variations among the different planes and give visibility to my symbolic trace on nature.
I’m seeking to get away from the nineteenth-century landscape representation and its tradition, placing the spectator in a new relationship with the landscape. Instead of the former frontal and contemplative position, he is now an active agent located in the middle of the landscaped event.
Some halos of light (remains of the sculpture strategies), cross through the consecutive planes breaking up into multicolored particles.