Microcosm
Monday, 24 June 2024 23:32
Written by Emmanuel Razo
Quintanilla presents us, through a decantation of the constant iconographies, themes and formalities present throughout his artistic career, his own version of that microcosm where all
times and places come together.
In the pictorial, sculptural work, installation, drawing and digital exploration that are part of his work, he flaunts the evolution from the conceptual and formal sense with great virtuosity.
Without apocalyptic gadgets, Laura delves into the symbolic field of posthumanism with her proposal. Her iconographic and material poetics flow between science and alchemy, technology
and ancient techniques, spirit and body, history and future, to place us, in a suggestive way, in front of the collective need to think about subjectivity as a place of resistance and creative
transformation.
In her pictorial work, the use of encaustic, chapopote and feather elements not only abounds in the aesthetic result, but also contributes to the conceptual appreciation of each of the pieces, as in
the case of “Origin.” Metaphor of the discontinuity that seems to combine our human nature in the various times of our dimensionality and temporality as a species. To look at it is to go to a
kind of evolutionary bigbang, continuous and until now unchanged in the future of our civilization: that microscopic universe where times are confused because its trajectory and perspective leaves us in a gerund of events.
The sculptural work acquires a singular lyric. Human and humanoid figures provide various metaphors for fragility, mechanization and transhumanization. The material and the conceptual
are once again combined as suggestions from the artist. From the expressive and gestural plasters, chapopote and feather of the “El Origen” series to the cold and devoid of any human
expression, resins, plastic and metal of the Transhuman series. As a warning that in the search to improve the human race we lose something of our human condition: feeling, emotion, what
makes us fragile. That something forgotten by our species when all effort is channeled towards the extension of life, longevity, physical strength, reason, productivity and where human
sensitivity has no place... although that is what we will have art for, it seems to whisper.
Looking at Quintanilla's work immersed in its poetics and its extraordinary execution allows us to notice that we are faced with a work of art conceived, in a magnificent way, for posterity. Her
paintings are fantastic scenes of a human species immersed in its labyrinths and for which the |artist uses the resource of encaustic as a suggestion of the millennial, not only looking to the
past, but to the future; Well, it seems to me, Laura paints for those viewers who will barely come, those who will encounter her work decades, centuries and millennia ahead. And there we will all
be: immersed in the crossroads that are common to us, trapped in the blindness of the future and enthralled in the sphere of our vanities.
Encountering works that claim to be artistic, also allows us to notice the versatility and artistic stature of Laura Quintanilla and discover in her work the beyond of memory and imagination,
but above all, the beyond of ourselves and our lostness. capacity for wonder.
times and places come together.
In the pictorial, sculptural work, installation, drawing and digital exploration that are part of his work, he flaunts the evolution from the conceptual and formal sense with great virtuosity.
Without apocalyptic gadgets, Laura delves into the symbolic field of posthumanism with her proposal. Her iconographic and material poetics flow between science and alchemy, technology
and ancient techniques, spirit and body, history and future, to place us, in a suggestive way, in front of the collective need to think about subjectivity as a place of resistance and creative
transformation.
In her pictorial work, the use of encaustic, chapopote and feather elements not only abounds in the aesthetic result, but also contributes to the conceptual appreciation of each of the pieces, as in
the case of “Origin.” Metaphor of the discontinuity that seems to combine our human nature in the various times of our dimensionality and temporality as a species. To look at it is to go to a
kind of evolutionary bigbang, continuous and until now unchanged in the future of our civilization: that microscopic universe where times are confused because its trajectory and perspective leaves us in a gerund of events.
The sculptural work acquires a singular lyric. Human and humanoid figures provide various metaphors for fragility, mechanization and transhumanization. The material and the conceptual
are once again combined as suggestions from the artist. From the expressive and gestural plasters, chapopote and feather of the “El Origen” series to the cold and devoid of any human
expression, resins, plastic and metal of the Transhuman series. As a warning that in the search to improve the human race we lose something of our human condition: feeling, emotion, what
makes us fragile. That something forgotten by our species when all effort is channeled towards the extension of life, longevity, physical strength, reason, productivity and where human
sensitivity has no place... although that is what we will have art for, it seems to whisper.
Looking at Quintanilla's work immersed in its poetics and its extraordinary execution allows us to notice that we are faced with a work of art conceived, in a magnificent way, for posterity. Her
paintings are fantastic scenes of a human species immersed in its labyrinths and for which the |artist uses the resource of encaustic as a suggestion of the millennial, not only looking to the
past, but to the future; Well, it seems to me, Laura paints for those viewers who will barely come, those who will encounter her work decades, centuries and millennia ahead. And there we will all
be: immersed in the crossroads that are common to us, trapped in the blindness of the future and enthralled in the sphere of our vanities.
Encountering works that claim to be artistic, also allows us to notice the versatility and artistic stature of Laura Quintanilla and discover in her work the beyond of memory and imagination,
but above all, the beyond of ourselves and our lostness. capacity for wonder.