- An apology for debris A conversation with Guillermo Mora . Susana Blas
- Painting’s time . Javier Díaz-Guardiola
- NO FIXED FORM . Teresa Macrì
- Now More Is Less . Isabel Tejeda Martín
- MUTABLE FRAGMENTs . LUISA FUENTES GUAZA
- Brief essays for a major disaster (…or some notes on how Guillermo Mora executes a Process Painting on the Fall) . Omar-Pascual Castillo
MUTABLE FRAGMENTS . LUISA FUENTES GUAZA
I see painting as a multiple tool that allows me to move between the ideal of image construction and a constant metamorphosis made of fragments. Guillermo Mora Mistakes as part of the process of plastic materialisation, the exploration of the overflowing of images towards the three-dimensional and fragments as personal archaeological remains are some of the variables which converge in the expressive proposal of Long Journey with a Stranger by artist Guillermo Mora (Alcalá de Henares, Spain, 1980).
Long Journey with a Stranger reclaims – through the juxtaposition of irregular plastic fragments – the Portuguese idea of Baroque , which focuses on man's psychological pain in search of solid anchorages. The symbolic anchorages in the artist's production work through the use of colour.
We find ourselves before a landscape built from an experimental bordering space, where the painting overflows, where image becomes sculpture. A landscape that tells us about chance, error and uncertainty, reclaiming part of the imaginary of Godel's physical universe with its closed timelike curves and the observer who can see himself in the past.
The sculptural landscape invites us to provide a new meaning to each one of the volumes that compose it, by going back to Perspectivism, in which we identify the impossibility of constructing a coherent theory able to approach reality in a systematic and contrastable way, if not through specific and particular observations. We see sculptural fragments that work as marks of this inherited psychological pain searching for the transformation of the kinetics of colour vibrating fields. Colour and matter are dissolved so we can engage in a post-structuralist sculptural experience marked by the reconstruction and renovation of built forms through the causal experimentation of trial and error.
Mora inserts us into a relational plastic space where colour goes beyond its physical limits and becomes unlimited potential towards the transformation of image. Pieces built by solidified colour, materialised colour or overflown colour – loaded with sculptural connotation – reclaim the notion of chromatic mutability as an evolutionary stage within space and time and make visible a poetics of essentiality where time is curved.
Long Journey with a Stranger places the observer in an uncertain sculptural space where the symbolic imaginary is rebuilt, not by introducing a new concept which succeeds the old, but by means of a general transformation/deformation of the logic of space .
A mutable and overflown landscape.
Luisa Fuentes Guaza Luisa Fuentes Guaza (Lorca, Spain, 1979) is an independent curator specialising in young Ibero-American art. She wrote the book Ustedes nosotros. Jóvenes artistas iberoamericanos, published by Index Book, 2010. As a curator, she is currently a member of the working team of the experimental project "Ranchito" at the Centro de Creación Contemporánea Matadero, Madrid.